Journal Articles
Permanent URI for this collectionhttps://mro.massey.ac.nz/handle/10179/7915
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Item Affect, responsibility, and how modes of engagement shape the experience of videogames(Digital Games Research Association (DiGRA), 13/12/2015) Veale, KRWhen considering the elements that shape our experience of fiction, the line distinguishing the text itself from the processes we go through in negotiating that text is easy to miss. Even something as simple as knowing roughly how far through a book we are as we read will influence our experience of the story. If the same story is moved into a hypertext context that eliminates that physical awareness from the experience, then that changes our mode of engagement. Understanding how different modes of engagement shape our experiences of fiction will be helpful not just for the analysis of new media storytelling, but for understanding how we have already been telling stories for a very long time. What sets the experience of videogames apart from other forms of mediated storytelling is that the person playing the game can come to feel responsible for events and characters within a fictional world.Item Interactive cinema is an oxymoron, but may not always be(Game Studies, 30/09/2012) Veale KR"Interactive Cinema" is a term that has been associated with videogames within historical media discourse, particularly since the early nineties due to the proliferation of CD-ROM technology. It is also a fundamental misnomer, since the processes of experiential engagement presented by the textual structures of videogames and cinema are mutually exclusive. The experience of cinematic texts is defined, in part, by the audience's lack of ability to alter events unfolding within the film's diegesis. In comparison, the experience of videogames is tied inextricably to the player's investment and involvement within the game's textual diegesis, and within a Heideggerian world-of-concern. However, there has been a recent development that suggests a bridge between these two structures: texts which are less defined by their ludic qualities than by a set structure - but where the affective qualities of the experience rely entirely on the direct involvement of the person engaging with the text. These are a storytelling form which are neither "played" or "watched," and it may be that "interactive cinema" is an appropriate way of conceptualising these experiences.
