Applying theory to play - The Game Studies Musings of Merlin Seller MA Mst (PhD) Lecturer University of Edinburgh
Games and comics have much in common as media on the margins, at once ancient (as icons and tokens) and new (as VR and touchscreens). Both are complex hybrids with a deep and varied ancestry of art forms serving as their foundations, but each medium still has much to learn from the other.
Read MoreWhat I want to do in this piece is question what we really mean when we use Mihaly Csíkszentmihályi’s term ‘Flow’, and the implications a wider spectrum of Flows might have for our understanding of games.
Read MoreWhat does it look like to see gender done 'well'? Firewatch and Life Is Strange both subvert traditional femininities and masculinities, propose new forms of affective intimacy, and also question the position of the player and their relationship to the game in terms of flow and mastery.
Read MoreThe lush golden haze of Yaughton is quiet, but far from peaceful. Fictional places are weird things, they make space where formerly there was none, but they can feel like they’ve always existed. The never-was is hard to erase.
Read MoreHeard of the ‘death drive’? Well this time it’s literal. Nought to self-destruction in 60 seconds. A recent sub-genre has caught my eye – a species of racing/runner which blends an ironic horror with a species of racing. What do I mean by that? Racing towards the player’s own doom, this is a kind of game where victory is defeat, self-destruction is progress.
Read MoreI once found a paper crane on a train. Left there. Some ordinary magic.
Read MoreWe’ve all heard some of the origin myths of film – the audiences who closed their eyes and threw up their hands to protect themselves from oncoming trains. But where are the video game myths? Where is the moment of horror? Where is the body?
Read More*Bip, bip, bip*. Better put that away – the Alien can hear your interface. In Alien: Isolation, an epic space-tragedy, you spend more time talking to your retro-engineered tools than other human beings. Stuck in space, you’re main enemy is technology.
Read Morehave a dream where I open my office door. It’s black and white, and I know I’ve done many things, but I don’t know what I’ve lost in the process. The virtual is tragic and farcical, here and not here, welcoming and reifying, and in playing BioShock: Infinite we see its price.
Read More‘Play’, as generated by games, is an exploration of limits. Because of the assumption of space in the medium, a huge proportion of games involve journeys. For a lot this is a trip from point A to point B (and if you’re unlucky, a backpeddle to point A with object p). On the face of it this seems natural considering the media to which video games still look. Books, TV and film are (to crazy-generalise) traditionally sequential media with linear narratives. Not only are they littered with thematic journeys and notions of progressive character development, but they assume a uni-directional experience of both figured time and literal consumption line by line or frame by frame. But what happens to structures and tropes like these when they’re made literal? What happens in a game where you interactively walk/fly/drive to a finish line?
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