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详细书目
| 类型/形式： | Aufsatzsammlung |
|---|---|
| 材料类型： | 互联网资源 |
| 文件类型： | 书, 互联网资源 |
| 所有的著者/提供者： |
Noah Wardrip-Fruin; Pat Harrigan |
| ISBN: | 0262232324 9780262232326 0262731754 9780262731751 |
| OCLC号码： | 52086546 |
| 描述： | xiii, 331 p. : ill. ; 23 cm. |
| 内容： | Cyberdrama -- Ludology -- Critical simulation -- Game theories -- Hypertexts & interactives -- The Pixel/the line -- Beyond chat -- New readings. |
| 责任： | edited by Noah Wardrip-Fruin and Pat Harrigan ; designed by Michael Crumpton. |
目次表：
Dedication and Acknowledgments x
Introduction xi
Contributors xiii
I. CYBERDRAMA
Janet Murray: "From Game-Story to Cyberdrama" 2
Response by Bryan Loyall 2
From Espen Aarseth's Online Response 10
Ken Perlin: "Can There Be a Form between a Game and a Story?" 12
Response by Will Wright 12
From Victoria Vesna's Online Response 14
Michael Mateas: "A Preliminary Poetics for Interactive Drama and Games" 19
Response by Brenda Laurel 19
From Gonzalo Frasca's Online Response 23
II. LUDOLOGY
Markku Eskelinen: "Towards Computer Game Studies" 36
Response by J. Yellowlees Douglas 36
Note Regarding Richard Schechner's Response 37
Espen Aarseth: "Genre Trouble" Narrativism and the Art of Simulation" 45
Response by Chris Crawford 45
From Stuart Moulthrop's Online Response 47
Suart Moulthrop: "From Work to Play: Molecular Culture in the Time of Deadly Games" 56
Response by Diane Gromala 56
From John Cayley's Online Response: "Playing with Play" 60
III. CRITICAL SIMULATION
Simon Penny: "Representation, Enaction, and the Ethics of Simulation" 73
Response by Eugene Thacker 73
From N. Katherine Hayles's Online Response 75
Gonzalo Frasca: "Videogames of the Oppressed: Critical Thinking, Education, Tolerance, and Other Trivial Issues" 85
Response by Mizuko Ito 85
From Eric Zimmerman's Online Response 88
Phoebe Sengers: "Schizophrenia and Narrative in Artificial Agents" 95
Response by Lucy Suchman: "Methods and Madness" 95
From Michael Mateas's Online Response 98
IV. GAME THEORIES
Henry Jenkins: "Game Design as Narrative Architecture" 118
Response by Jon McKenzie 118
From Markku Eskelinen's Online Response 120
Jesper Juul: "Introduction to Game Time" 131
Response by Mizuko Ito 131
From Celia Pearce's Online Response 133
Celia Pearce: "Towards a Game Theory of Game" 143
Response by Mary Flanagan 143
From Mark Bernstein's Online Response: "And Back Again" 145
Eric Zimmerman: "Narrative, Interactivity, Play, and Games: Four Naughty Concepts in Need of Discipline" 154
Response by Chris Crawford 154
From Jesper Juul's Online Response: "Unruly Games" 155
V. HYPERTEXTS & INTERACTIVES
Mark Bernstein and Diane Greco: Card Shark and Thespis: Exotic Tools for Hypertext Narrative" 167
Response by Andrew Stern 167
From Ken Perlin's Online Response 173
Stephanie's Strickland: "Moving Through Me as I Move: A Paradigm for Interaction" 183
Response by Rita Raley 183
From Camille Utterback's Online Response 185
J. Yellowlees Douglas and Andrew Hargadon: "The Pleasures of Immersion and Interaction: Schemas, Scripts, and the Fifth Business" 192
Response by Richard Schechner 192
From Henry Jenkins's Online Response 197
VI. THE PIXEL/THE LINE
John Cayley: "Literal Art: Neither Lines nor Pixels but Letters" 208
Response by Johanna Drucker 208
From Nick Montfort's Online Response 210
Camille Utterback: "Unusual Positions - Embodies Interaction with Symbolic Spaces" 218
Response by Matt Gorbet 218
From Adrianne Wortzel's Online Response 222
Bill Seaman: "Interactive Text and Recombinant Poetics - Media-Element Field Explorations" 227
Response by Diane Gromola 227
From Jill Walker's Online Response 233
VII. BEYOND CHAT
Warren Sack: "What Does a Very Large-Scale Conversion Look Like?" 238
Response by Rebecca Ross 238
From Phoebe Sengers's Online Response 239
Victoria Vesna: "Community of People with No Time: Collaboration Shifts" 249
Response by Stephanie Strickland 249
Natalie Jeremijenko: "If Things Can Talk, What Do They Say? If We Can Talk to Things. What Do We Say? Using Voice Chips and Speech Recognition Chips to Explore Structures of Participation Sociotechnical Scripts" 262
Response by Lucy Suchman: "Talking Things" 262
From Simon Penny's Online Response 265
VIII. NEW READINGS
N. Katherine Hayles: "Meaphoric Networks in Lexia to Perplexia" 291
Response by Eugene Thacker 291
From Bill Seaman's Online Response 293
Jill Walker: "How I Was Played by Online Caroline" 302
Response by Adianne Wortzel 302
From Warren Sack's Online Response 305
Nick Montfort: "Interactive Fiction as 'Story', 'Game', 'Storygame', 'Novel', 'World', 'Literature', 'Puzzle', 'Problem', 'Riddle', and 'Machine'" 310
Response by Brenda Laurel 310
From Janet Murray's Online Response 315
Permission 319
Index 321
评论
出版商概要
" First Person makes an invaluable contribution to the current discussion surrounding new media narratives, computer games, and the performative ties that bind them. The anthology brings together major players in the field who discuss their ideas in the appropriately open-ended format of statements and responses, all of which shed light on the aesthetic and social implications of our new experiences of stories." Christiane Paul , Adjunct Curator of New Media Arts, Whitney Museum of American Art "You have entered the rotunda of a gleaming, new conference center. Above you hangs a banner: 'Welcome to First Person.' In front of you, you see doors leading into separate conference rooms, each of which is marked with a sign in large, Futura Bold letters: 'Cyberdrama,' 'Ludology,' 'Simulation,' 'Hypertext and Interactives,' and so on. You soon discover that every room in this virtual conference called First Person is filled with informed discussion and lively controversy from major figures in the emerging field of Game Studies. Some are arguing that digital games (as the heirs of the novel and of film) constitute the next great arena for storytelling; others respond that games are not narratives at all and require a different theoretical framework and a new discipline. Still others are describing their own exciting contributions to interactive fiction, poetry, or visual/verbal art. By the time you return from this virtual tour of the world of Game Studies, you realize that all of these rooms (and all these topics) are connected in an intricate and compelling architecture of ideas. You begin to understand the rich possibilities that computer games offer... as drama, narrative, and simulation. You come to appreciate the great theoretical task that lies before us in exploring both the formal properties and the cultural significance of computer games." Jay David Bolter , Wesley Professor of New Media, Georgia Institute of Technology 再读一些...
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