""First Person" makes an invaluable contribution to the current
discussion surrounding new media narratives, computer games, and
the performative ties that bind them. The anthology brings together
major players in the field who discuss their ideas in the
appropriately open-ended format of statements and responses, all of
which shed light on the aesthetic and social implications of our
new experiences of stories."--Christiane Paul, Adjunct Curator of
New Media Arts, Whitney Museum of American Art
"
"You have entered the rotunda of a gleaming, new conference center.
Above you hangs a banner: 'Welcome to First Person.' In front of
you, you see doors leading into separate conference rooms, each of
which is marked with a sign in large, Futura Bold letters:
'Cyberdrama, ' 'Ludology, ' 'Simulation, ' 'Hypertext and
Interactives, ' and so on. You soon discover that every room in
this virtual conference called First Person is filled with informed
discussion and lively controversy from major figures in the
emerging field of Game Studies. Some are arguing that digital games
(as the heirs of the novel and of film) constitute the next great
arena for storytelling; others respond that games are not
narratives at all and require a different theoretical framework and
a new discipline. Still others are describing their own exciting
contributions to interactive fiction, poetry, or visual/verbal art.
By the time you return from this virtual tour of the world of Game
Studies, you realize that all o
& quot; First Person makes an invaluable contribution to the
current discussion surrounding new media narratives, computer
games, and the performative ties that bind them. The anthology
brings together major players in the field who discuss their ideas
in the appropriately open-ended format of statements and responses,
all of which shed light on the aesthetic and social implications of
our new experiences of stories.& quot; -- Christiane Paul, Adjunct
Curator of New Media Arts, Whitney Museum of American Art
& quot; You have entered the rotunda of a gleaming, new conference
center. Above you hangs a banner: 'Welcome to First Person.' In
front of you, you see doors leading into separate conference rooms,
each of which is marked with a sign in large, Futura Bold letters:
'Cyberdrama, ' 'Ludology, ' 'Simulation, ' 'Hypertext and
Interactives, ' and so on. You soon discover that every room in
this virtual conference called First Person is filled with informed
discussion and lively controversy from major figures i the emerging
field of Game Studies. Some are arguing that digital games (as the
heirs of the novel and of film) constitute the next great arena for
storytelling; others respond that games are not narratives at all
and require a different theoretical framework and a new discipline.
Still others are describing their own exciting contributions to
interactive fiction, poetry, or visual/verbal art. By the time you
return from this virtual tour of the world of Game Studies, you
realize that all of these rooms (and all these topics) are
connected in an intricate and compelling architecture of ideas. You
begin to understand the rich possibilities that computer games
offer . . . as drama, narrative, and simulation. You come to
appreciate the great theoretical task that lies before us in
exploring both the formal properties and the cultural significance
of computer games.& quot; -- Jay David Bolter, Wesley Professor of
New Media, Georgia Institute of Technology
" "First Person" makes an invaluable contribution to the current
discussion surrounding new media narratives, computer games, and
the performative ties that bind them. The anthology brings together
major players in the field who discuss their ideas in the
appropriately open-ended format of statements and responses, all of
which shed light on the aesthetic and social implications of our
new experiences of stories." --Christiane Paul, Adjunct Curator of
New Media Arts, Whitney Museum of American Art
" You have entered the rotunda of a gleaming, new conference
center. Above you hangs a banner: 'Welcome to First Person.' In
front of you, you see doors leading into separate conference rooms,
each of which is marked with a sign in large, Futura Bold letters:
'Cyberdrama, ' 'Ludology, ' 'Simulation, ' 'Hypertext and
Interactives, ' and so on. You soon discover that every room in
this virtual conference called First Person is filled with informed
discussion and lively controversy from major figures in the
emerging field of Game Studies. Some are arguing that digital games
(as the heirs of the novel and of film) constitute the next great
arena for storytelling; others respond that games are not
narratives at all and require a different theoretical framework and
a new discipline. Still others are describing their own exciting
contributions to interactive fiction, poetry, or visual/verbal art.
By the time you return from this virtual tour of the world of Game
Studies, you realize that all of these rooms (and all these topics)
are connected in an intricate and compelling architecture of ideas.
You begin to understand the rich possibilities that computer games
offer . . . as drama, narrative, and simulation. You come to
appreciate the great theoretical task that lies before us in
exploring both the formal properties and the cultural significance
of computer games." --Jay David Bolter, Wesley Professor of New
Media, Georgia Institute of Technology
--Christiane Paul, Adjunct Curator of New Media Arts, Whitney
Museum of American Art
--Jay David Bolter, Wesley Professor of New Media, Georgia
Institute of Technology
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