Kieron Gillen
One of the best games journalist out there is Kieron Gillen, a British freelancer. Here's an excerpt from one of his articles on fear:
The human mind’s a strange and lovely organ. Among it’s multitude of abilities – such as always finding the wrong person to fall in love with or deciding, yes, another drink is precisely what you need – is its capacity to expand its consciousness into items which it controls directly, making them proxies of the personality proper. This is why rather than saying the correct “His car ran into my car” after crash everyone calls out “He hit me” before swearing profusely and reaching for the winch. Your psychological identity has swelled to include the ton of warped metal around your actual flesh.
The same’s true of games. Once you’ve sat down at the controls, your digital character is under your complete control. Eventually the control system becomes transparent, you becoming unconscious of remembering what button to press. The character has become a digital limb, hardwired to the cerebellum through the medium of fingers, controllers and circuitry. The more complete the inclusion of your in-game self, the greater the identification and loss of self. Which results in… well, let’s Joe Wampole, Art and Game Design at Nocturne and Blair-Witch-1 developers Terminal Reality, explain, “Being an active participant is going to increase the amount of suspense over identifying with the character every time. The player IS the character regardless of what story is written about the polygonal hero. Therefore, it becomes the player’s own life they are trying to preserve, unlike a movie where the viewer is a bystander to the action. So when something scary happens to the character, it is happening to the player”. In short, the best games produce terror in the player by directly attacking them rather than a character you’re to sympathise with. In films, you’re a voyeur. With game’s it’s personal.
So, as you see here, there's alot about the in game character being a digital organ. This reminds me of the idea of the cyborg, in this case, we get to become a polygonal figure. Horror video games, like System Shock 2 which i'm playing now (thanks Alex C), tend to remove the consciousness of a keyboard so that you are completely absorbed in the game itself.
Check out Gillen's blog here: www.kierongillen.com/
There's a great Deus Ex review there.
The human mind’s a strange and lovely organ. Among it’s multitude of abilities – such as always finding the wrong person to fall in love with or deciding, yes, another drink is precisely what you need – is its capacity to expand its consciousness into items which it controls directly, making them proxies of the personality proper. This is why rather than saying the correct “His car ran into my car” after crash everyone calls out “He hit me” before swearing profusely and reaching for the winch. Your psychological identity has swelled to include the ton of warped metal around your actual flesh.
The same’s true of games. Once you’ve sat down at the controls, your digital character is under your complete control. Eventually the control system becomes transparent, you becoming unconscious of remembering what button to press. The character has become a digital limb, hardwired to the cerebellum through the medium of fingers, controllers and circuitry. The more complete the inclusion of your in-game self, the greater the identification and loss of self. Which results in… well, let’s Joe Wampole, Art and Game Design at Nocturne and Blair-Witch-1 developers Terminal Reality, explain, “Being an active participant is going to increase the amount of suspense over identifying with the character every time. The player IS the character regardless of what story is written about the polygonal hero. Therefore, it becomes the player’s own life they are trying to preserve, unlike a movie where the viewer is a bystander to the action. So when something scary happens to the character, it is happening to the player”. In short, the best games produce terror in the player by directly attacking them rather than a character you’re to sympathise with. In films, you’re a voyeur. With game’s it’s personal.
So, as you see here, there's alot about the in game character being a digital organ. This reminds me of the idea of the cyborg, in this case, we get to become a polygonal figure. Horror video games, like System Shock 2 which i'm playing now (thanks Alex C), tend to remove the consciousness of a keyboard so that you are completely absorbed in the game itself.
Check out Gillen's blog here: www.kierongillen.com/
There's a great Deus Ex review there.
posted by playerHAYTER at 2:58 PM
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