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.
What follows is a lesson from my 2013 course “Comparative Media Poetics: Cinema and Videogames” at taught U Chicago. On the docket for this week: displays of intelligence and expertise in cinema (from Buster Keaton films to contemporary action cinema), and the ways in which the needs for interactivity force a very different visual style in games than we see in contemporary cinema.
The screening/play-session hybrid that lead up to this class included clips from The General (Buster Keaton with Clyde Bruckman,1926), College (Buster Keaton with James W. Horne, 1927), Casino Royale (Martin Campbell, 2006), and The Bourne Ultimatum (Paul Greengrass, 2007), the latter of which is our primary concern here. It also included students playing portions of Uncharted 3: Drake’s Deception (Naughty Dog, 2011) and Mirror’s Edge (DICE, 2009). Readings for the week included selections from Noël Carroll’s book on Buster Keaton Comedy Incarnate, and a chapter from James Paul Gee’s book Why Video Games Are Good for Your Soul.