The next two chapters zoom out to consider systemic challenges to reflective thought and perception in the contemporary media ecology generally, and the ludic century particularly. The project begins with a critique of limiting conceptions of gameplay in game studies grounded in a close reading of Bethesda's Morrowind, arguing for a new a "phaneroscopical perspective" that accounts for the significance of a "noematic" layer in the gameplay experience that accounts for dynamics of player reflection on diegetic information and its integral relation to ergodic activity. The project also provides critical discussion of two important contexts relevant to understanding the significance of this poetic strategy in the field of digital games: the dynamics of the contemporary media ecology, and the technological and cultural forces informing game design thinking in the ludic century. The arguments advanced about digital games draw on philosophical aesthetics, media theory, and game studies to develop a critical perspective on gameplay as an aesthetic experience, enabling analysis of how particular games strategically educe and organize reflective modes of thought and perception by design, and do so for the purposes of generating meaning and supporting expressive or artistic goals beyond amusement. The general aim of the project is to create a critical perspective on digital games that recovers aesthetic concerns for game studies, thereby enabling new discussions of their significance as mediations of thought and perception.
You can view a list of stream-of-consciousness novels here I believe that "Dear Esther" follows a similar story pattern to many of the great 20th century stream-of-consciousness novels.īelow, I have included some screenshots of "Dear Esther" where you can see snippets of the story line (no spoilers!) and judge for yourself how literary the game seems to you.The Poetics of Reflection in Digital Games explores the complex relationship between digital games and the activity of reflection in the context of the contemporary media ecology.
The horror of this game is in hearing and piecing together the horrible and immensely sad memories that our narrator shares with us. I have heard this game described as being in the horror genre, and I would agree, but it has nothing to do with shooting zombies or running from mutants (as is common in most games in the horror genre). Instead of merely reading a fictional diary, readers/players are given an incredibly beautiful landscape to explore and view while being given the story. The action of the game mainly involves exploring the island and listening to the diary entries of the narrator. Interestingly, the game is more of a visual, illustrated novella than anything else.
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