Providing intelligent feedback to aid authoring has been proposed as a way to speed up authoring, give the author more control, and to enable the authoring of more complex interactive narratives. Our analysis clearly shows a fluidity of form, encourages experimentation, and provides a mechanism through which theory can be applied widely. Rather than trying to reconcile hypertext and IDN our approach instead presents hypertext as a useful thought pattern for approaching IDN that can bridge the gap between IDN forms and clarify their relationships to one another. We also show how sculptural systems, parser fiction, and game narratives make use of interaction and presentation engines that complement and build upon these structures. In doing so we define a Hypertext Lens, made of layers of lexia state, story state, world model, and story engine. We show that hypertext can coherently explain the transition functions (the parts of the system that manages narrative state) across calligraphic, sculptural (storylets), adaptive, database driven, parser, and game narratives. Using the Interactive Process Model to scope our analysis we systematically examine IDN from the perspective of hypertext structure. We take the approach of using hypertext as a method of inquiry to explore the similarities of different IDN forms. Interactive Narrative is blessed with a myriad of forms, this richness makes it hard to compare IDN systems or to develop general theories and tools as each example can seem like a special case. We conclude that an improved understanding of epiphany in digital games contributes to the maturation of digital games as a medium, since it allows both designers and scholars to better understand the medium-specific ways in which games can evoke certain feelings and emotions within their players. In addition, we distinguish between epiphany on a ‘local’, meaning small-scale and context-specific, and a ‘global’ scale, pertaining to the entirety of the game system. We argue that epiphany in digital games is experienced by the player instead of the fictional protagonist, and that this experience can be brought about by ludic or narrative elements (making either a ‘ludic’ or a ‘narrative epiphany’), or by the collaboration of those elements (a ‘ludonarrative epiphany’). This article investigates the continuities and discontinuities between the literary epiphany and the hypertext epiphany, and subsequently theorizes the different types of epiphanies that occur in various digital games. The Little Mermaid, directed by Rob Marshall, opens in theaters nationwide on May 26, 2023.In this paper, we take up the subject of epiphany in digital games, inspired by Espen Aarseth’s claim in Cybertext that epiphany serves as one half of a “pair of master tropes constitutes the dynamic of hypertext discourse: the dialectic between searching and finding typical of games in general”. She makes a deal with the evil sea witch, Ursula, which gives her a chance to experience life on land, but ultimately places her life – and her father’s crown – in jeopardy. While mermaids are forbidden to interact with humans, Ariel must follow her heart. The youngest of King Triton’s daughters, and the most defiant, Ariel longs to find out more about the world beyond the sea, and while visiting the surface, falls for the dashing Prince Eric. The Little Mermaid is the beloved story of Ariel, a beautiful and spirited young mermaid with a thirst for adventure. The film stars Halle Bailey as Ariel, Daveed Diggs as the voice of Sebastian, Jacob Tremblay as the voice of Flounder, Awkwafina as the voice of Scuttle, Jonah Hauer-King as Prince Eric, Art Malik as Sir Grimsby, Noma Dumezweni as Queen Selina, Javier Bardem as King Triton, and Melissa McCarthy as Ursula. Check out the teaser trailer for The Little Mermaid, the upcoming live-action reimagining of the animated musical classic.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |