“Any sufficiently advanced technology is indistinguishable from magic.”
It’s a bit past due but I’ve been meaning to write something on the Oculus Rift since I first got to experience it at PAX Australia this year. It was nothing short of magical, and the implications are mind blowing.
A friend put it perfectly in a tweet just the other day:
https://twitter.com/HarrisonTheFan/status/385352799199838208
I feel like this encapsulates my feelings towards both of those things. As you’ve probably seen in my past blogs I really like the culture of the internet, even the dark bits of it. It makes for a psychology that’s so chaotic yet colourful and beautiful at the same time. Hence why I enjoy YouTube Poops so much; they offer a succinct, humorous, and accessible way of defining the environment of the internet.
I feel the same toward gaming for similar reasons, yet quite different reasons. Modern video games are a truly magnificent amalgamation of past mediums. Elegantly weaved together they don’t only tell stories of characters, but of entire worlds, and galaxies. They offer a space to explore, not simply a narrative to obediently follow along. Video games create a space for a player to have their own take on the world, or completely submit to it’s rules in an act of roleplaying.
I had a read of this extract but I must say it was a bit confusing. I’m not entirely sure what Manovich was getting at apart from his suggestion that Narratives and Databases are at odds with one another. I gather Manovich is discussing these things in terms of storytelling and narrative, and how “New Media” prefers a more non-linear approach to it via databases and user input. Even then it doesn’t seem to coalesce into any particularly strong ideas.
I did like the bit about video games though, and the fact Will Wright was quoted, and a thought that came from that section was how competitive video game players learn the game’s algorithms to try and beat their opponents. Quake in particular is a great example, being a legacy competitive game, where the game’s core mechanics were so familiar to the players they could manipulate them in ways that seemed superhuman to more casual players. Similarly Brood War was infamous for some of it’s poor design aspects – such as maximum selection limits, and micromanagement – that when perfected, were a sign of true mastery.
…but yeah, still confused about that reading there.
There’s something special about the way English Country Tune presents itself. You open the game with nothing more than synthesised chords fading in and a menu screen with a handful of options. From the genesis of your experience the game whispers sweet simplicities into your ear.
