A quick heads-up: Awhile back, I announced the SCMS 2018 special event I co-coordinated devoted to the life and work of Hannah Frank. That event is now watchable for those who weren’t able to make it to the conference in March, thanks to the generous videographic assistance of Sean Batton. Please feel free to embed and distribute widely.
(I’d recommend playing this video on the actual YouTube page, rather than its embedded version here: if you look below the fold on the textual description over there, you’ll see that I’ve added bookmarks so that you can easily navigate to each speaker’s presentation, as well as links to a bunch of materials referred to in the presentations.)
2017 marks the year of animator David OReilly’s return to to the medium of videogames, following up on his strange and serene digital-art-toy-screensaver-thing Mountain (2014). His new game, Everything, released on PS4 on March 21st, and releases on Windows, Mac and Linux this Friday.
The game’s title, Everything, is also the game’s premise: It is a game about everything. Specifically, it is a game in which players can be everything, switching at will from trees to koalas to rocks to quarks and back. I haven’t had a chance to sit down with it yet—I suspect I’ll make time for it once it’s out for PC—but I did want to take the advent of its multi-platform release as an opportunity to muse on this premise’s history in gaming.
Everything may be the first game that explicitly promises to allow us to be everything, but games have previously offered the ability for us to step into the role of quite a lot of things, including a surprising range of inanimate objects. “The child plays at being not only a shopkeeper or teacher,” wrote Walter Benjamin, “but also a windmill and a train.”[i] Games have proved to be a continuing outlet for this childhood animist fantasy—why, in just a couple weeks’ time, we’re going to be able to play as a coffee mug!
Join me, won’t you, in a breezy tour of some of the stranger things games have let us be.
The following is the spoken presentation version of my talk from DiGRA’s 2014 conference in Snowbird, UT. The full paper, as drafted up for the conference’s proceedings, is available here. You can follow along with the visual presentation for this spoken version here.
Today, I’d like to address a cluster of game user interface design options that I have lumped together under the category of synesthetic interfaces. By this, I’m referring to interfaces that perform a sensory substitution, translating the information normally associated with one sense modality into the phenomenal forms normally associated with another. This is part of a larger interest of mine of examining approaches within game UI design in terms of the epistemic strategies they enact when establishing the relation of players to their avatars, and avatars to their worlds.