Please find some time to view this 22-minute video lecture between now and our Zoom conference call, which will convene at the normal time. You can expect our Zoom conference call to be shorter and more discussion-based as a result.
If I had to sum up a significant portion of the writing I do on videogames, I would offer the following formulation as a précis: The establishment of character in videogames isn’t achieved solely through writing. It is also established through user interface design.
Sometimes, something as simple as how a cursor behaves can tell us a lot about a character. Be forewarned—the breezy tour through the issue below contains significant spoilers for Firewatch (Campo Santo, 2016).
This post is part of a series that borrows the term process genre from Salomé Aguilera Skvirsky’s work in cinema studies, and explores its utility for videogame analysis. A quick definition: “process genre” films are films about labor, films that focus on processes of doing and making, that are fascinated with seeing tasks through to their completion. They are deliberately paced, meditative, and often political, in that they cast a penetrating eye on labor conditions. Are there games that the same chords? Posts in the series so far can be seen here.
I reserve the right to sporadically post future entries in this series, but with Sunset (Tale of Tales, 2015), it really does feel as if things have come full circle. As I laid out in the first post in this series, the process genre finds its most archetypal manifestation in Belgian filmmaker Chantal Akerman’s Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975), and Skvirsky has been tracking its development in contemporary Latin American cinema. Sunset was created by Belgian artist duo Auriea Harvey and Michaël Samyn, and is about the daily life of a housekeeper in a (fictional) Latin American country. The parallels are easily drawn, but there’s also more going on here than this brief description suggests.
What follows is my talk from SCMS 2016 in Atlanta, GA. You can follow along with the visual presentation here.
The moving image and the graphical user interface: they are often regarded as two separate forms, with their own unique histories, and with resulting divergent aesthetics. Recent years, however, have seen this division beginning to break down, as the GUI has gradually invaded moving-image storytelling.
Representations of the graphical user interface have a long history in science-fiction, from the augmented reality elements that clutter the cyborg’s point-of-view to the fantastic potentials of human-machine interfaces. Continue reading