By Friedrich von Borries, Steffen P. Walz, Matthias Böttger, Drew Davidson, Heather Kelley, Julian Kücklich
Computing device and games are leaving the computer and conquering the sector of way of life within the kind of cellular functions (such as GPS mobile phones, etc.) the result's new different types of towns and structure. How do those video games adjust our belief of actual and digital house? What can the designers of actual and electronic worlds research from each other? house Time Play offers the next topics: the superimposition of desktop video games on actual areas and convergences of actual and imaginary playspaces; laptop and games as functional making plans tools. With articles by means of Espen Aarseth, Ernest Adams, Richard A. Bartle, Ian Bogost, Gerhard M. Buurman, Edward Castranova, Kees Christiaanse, Drew Davidson, James Der Derian, Noah Falstein, Stephen Graham, Ludger Hovestadt, Henry Jenkins, Heather Kelley, James Korris, Julian Kücklich, Frank Lantz, Lev Manovich, Jane McGonigal, William J. Mitchell, Kas Oosterhuis, Katie Salen, Mark Wigley, and others.
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Additional info for Space Time Play: Computer Games, Architecture and Urbanism: The Next Level
Example text
Will Wright, the game’s designer, frequently describes The Sims as a sandbox or dollhouse game, suggesting that it should be understood as a kind of authoring environment within which players can define their own goals and write their own stories. And yet, the game doesn’t open on a blank screen. Most players come away from spending time with The Sims with some degree of narrative satisfaction. Wright has created a world ripe with narrative possibilities; each design decision has been made with an eye towards increasing the prospects of interpersonal romance or conflict.
Here, the embedded narrative is no longer contained within the console, but rather flows across multiple information channels. Our activity as players consists of sorting through documents, deciphering codes or making sense of garbled transmissions, all the while moving step by step towards a fuller understanding of the conspiracy that is the game’s primary narrative focus. We follow links between websites and get information through webcasts, faxes, emails and phone calls. Such an embedded narrative doesn’t require a branching story structure, but rather depends on scrambling the pieces of a linear story and allowing us to reconstruct the plot through our acts of detection, speculation, exploration and decryption.
Net the boy and the girl through the ruins, you also have to keep her close to you so that she doesn’t get taken away by the creatures. One particularly charming part of the game is the mechanism by which you save your progress. Save points are denoted by special couches found sporadically throughout the castle. When you sit on a couch and take a nap, you save your progress, and when you resume playing, you wake up. This produces a nice little impression of time passing and of the boy and girl needing to rest as they work their way through the castle.