It’s not bigger and longer than _Star Wars,_ but it is more uncut: “Death of the Author [Psycho Shower Scene RECON]” by Dick Whyte. This, somewhat like the later famous Star Wars video, is a “reconstruction of Alfred Hitchcock’s famous shower scene from Psycho using amateur YouTube remakes.” 57 of them.
If you got that and you’re ready to increase the avant-garde, see also “John Cage – 4’33” [May ’68 Comeback Special RECON]” and “Andy Warhols Eat A Hamburger [38 Scenes From YouTube RECON].” All from 2010, but recalled here for your enjoyment.
For years, many people have been use the word “videogames” to describe various different things – often a similar category of games playable in arcades and at home thanks to digital electronic technology and using video displays. Sometimes this category is distinguished from “computer games” which are played on general-purpose home (or, if one is lucky, office) computers. Often people nowadays who think about gaming don’t think of specific classic titles (_Zork,_ _Hunt the Wumpus,_ _Star Trek_) as videogames but are willing to consider them computer games.
It’s not universal to use the single-word term. The OED has only an entry for “video game” (with 1973 and 1983 references), although “videotape” is listed as a single word. In _Racing the Beam,_ Ian Bogost and I compromised on using “videogame” as the adjective form and “video game” as the noun form, so we wrote phrases such as “videogame players” but also wrote of “popular video games.” Perhaps this was the worst of both worlds, but no one, not even our copy editor, railed at us about it.
The problem that I see is that I like to explain to people, often in writing, that I study “computer and video games.” If I use the term “videogames,” what would I say? “I study computer games and videogames”? “I study computer. Also, I study videogames”? “I study video- and computer games”?
In an effort to make videogames seem like their own special thing (which was provided to me by one editor as an explanation for why the one-word version was used), _Bioshock_ for PC is verbally classed in an entirely different category from _Bioshock_ for Xbox 360. Given my work as an editor of the MIT Press Platform Studies series, I certainly recognize the real importance of the subtle difference between these two – but it seems awkward as a digital media scholar to actually go and call them different things, and it seems like that is what the sleek and special term “videogame” compels us to do. Maybe I need to become retro and go back to the two-word version of the term.
In the “Michelangelo” room of the Portofino Bay hotel, at Ascendio (the latest and last in a long series of Harry Potter fan conferences), just down the lagoon from The Islands of Adventure and the Harry Potter area of that theme park, Flourish Klink presented her interactive fiction, “Muggle Studies.”
(In Michelangelo the women come and go, talking of rooms…)
We had a reading/playing of the game, to start, in the People’s Republic of Interactive Fiction public reading style. It worked well; another option would have been to “demo” the game using the successful format we tried out at the New School, Penn, and some Purple Blurb IF readings. The audience was game to try commands, though, and a volunteer read the game’s text aloud.
Then, Flourish provided some context, describing a bit about IF and Inform 7.
Given the vigorousness of fandom and the way interactive fiction production continues apace, it’s particularly good to see a demonstration of and call for more crossover work.
Welcome back to the Web’s major agglomeration of the avant-garde, Ubuweb.
(I don’t know that Ubu actually runs Ubuntu, but some statements are univocalically true regardless. And the site is back up, that’s for sure.)
I was extremely pleased to read Michael Leong’s discussion of Sea and Spar Between in At Length. Among other things, he considers in what way this could be considered a “long poem,” makes connections to Whitman’s “Crossing Brooklyn Ferry,” treats the interface and experience, and recounts a hilarious exchange between Toni Morrison and Oprah Winfrey. I really appreciated his discussion of different types of attention spans; these were issues that I (and I know Stephanie) have had in mind for quite a while.
At any rate, if you are interested in my & Stephanie Strickland’s Sea and Spar Between, or if you’ve been wondering about this piece but can’t figure out what to make of it, please take a look at Michael Leong’s article.
What are we waiting for, assembled in the forum?
A technical report is to arrive today.
No need to worry about what will become of you without a technical report! The report, the fourth “Trope Report” in the Trope Tank series that started this year, is here:
In “Carrying across Language and Code,” Natalia and I discuss issues of translation and computational writing. With reference to electronic literature translation projects in which we have been involved as translators or as authors of the source work, we argue that the process of translation can expose how language and computation interrelate in electronic literature. Various small poetry generators, a cybertext poem, and two works of interactive fiction are discussed in this report.
Share and enjoy…
Here’s an effective remix: Every space shuttle launch. The audio, as well as the difference in that one cell of video, draws attention to most memorable one, and the array of all of them drives home that the space shuttle launches _can_ be presented in their entirety – the program is over. The video is by McLean Fahnestock.
As I wrote a few days ago, I made a statement about “Taroko Gorge,” and all of its vandals, at the ELO conference in Morgantown, WV.
Sepand Ansari created a Beckett-based “Taroko Gorge” remix at the ELO conference. And now I have the URL for this piece, “Waiting for Taroko Gorge.”
Kathi Inman Berens has created “Tournedo Gorge” “to mash the space of computation with the female, domestic, and tactile,” as she discusses in her blog post.
In February 2011 Tim Schafer’s Doublefine Productions released a game, Stacking, in which the anthropomorphic figures are Russian nesting dolls. Set in a nicely developed Victorian world of social ills and technological marvels and making use of a toy-like mechanic, Stacking is somewhat like Lego Star Wars without either the Lego or the Star Wars brand. It combines charming play with plenty of cutscenes.
Some aspects of the game don’t seem to have been mentioned online in the past year and a half, so I’m compelled to mention them now: You play by controlling a young boy and nesting this character, and then others, inside one another to gain access to different areas and accomplish tasks. Your current stack of dolls can grow only by entering another doll. It’s not possible to stack another doll if it’s facing you and looking at you, only if you sneak up on it. That is, it’s necessary to enter dolls from behind. When you do pop yourself inside, onlookers gasp in shock.