![]() ![]() It's funny, then, that the long-awaited return of Mirror's Edge feels so. While it had its flaws, EA Dice's unique creation at least gave us some hope during those first few dismal years of the last console version. Normal, IL: Fiction Collective Two.Back in 2008, the original Mirror's Edge turned heads for being a rare splash of color in landscape of first-person-shootery greys, greens and browns. Expressive processing: Digital fictions, computer games, and software studies. GameFlow: A model for evaluating player enjoyment in games. Does time really slow down during a frightening event? PLoS ONE, 2, 1– 3. Madison, WI: Fairleigh Dickinson University Press. Joyce’s abandoned female costumes, gratefully received. Baltimore, MD: Johns Hopkins University Press. Narrative as virtual reality: Immersion and interactivity in literature and electronic media. (Eds.), The stream of consciousness: Scientific investigations into the flow of human experience (pp. Introduction: The flow of human experience. ![]() How gender, solitude, and posture influence the stream of consciousness. ![]() Lost in a book: The psychology of reading for pleasure. Electroencephalographic assessment of player experience: A pilot study in affective ludology. Affective ludology, flow and immersion in a first-person shooter: Measurement of player experience. Hamlet on the Holodeck: The future of narrative in cyberspace. Half-real: Video games between real rules and fictional worlds. Cambridge, UK: Cambridge University Press. (Ed.), The Cambridge companion to narrative (pp. Hyper and deep attention: The generational divide in cognitive modes. The pleasures of immersion and interaction. Basingstoke, England: Palgrave Macmillan. The madwoman in the attic: The woman writer and the nineteenth-century literary imagination. Rhianna pratchett on scripting Mirror’s Edge. Simulation 101: Simulation versus representation. New York, NY: HarperCollins.Įlectronic Arts Digital Illusions CE. The evolving self: A psychology for the third millennium. Cambridge: Cambridge University Press.Ĭsíkszentmihályi, M. (Eds.), Optimal experience: Psychological studies of flow in consciousness (pp. In Csíkszentmihályi, M., Csíkszentmihályi, I. ![]() The flow experience and its significance for human psychology. Cambridge, UK: Cambridge University Press.Ĭsíkszentmihályi, M. ACM Computer Entertainment, 6, 1– 27.Ĭsíkszentmihályi, M. Toward an understanding of flow in video games. Minneapolis: University of Minnesota Press.Ĭowley, B., Charles, D., Black, M., Hickey, R. (Eds.), New French feminisms: An anthology (pp. Tuscaloosa: University of Alabama Press.Ĭixous, H. Communications of the ACM, 50, 31– 34.Ĭiccoricco, D. Interview: Rhianna Pratchett, narrative designer. Cambridge: MIT Press.īorder House ( 2010, August 5). Persuasive games: The expressive power of videogames. Unit operations: An approach to videogame criticism. Cambridge, MA: Harvard University Press.īogost, I. Hearts, clubs, diamonds, spades: Players who suit muds. Modern Fiction Studies, 35, 543– 565.īartle, R. Molly’s flow: The writing of ‘penelope’ and the question of women’s language. Gender, genre, and writing style in formal written texts. Is Faith’s flow-in line with radical critical moves in literary history and cultural theory of the late 20th century to gender this trope-essentially or inevitably feminine, or for that matter, feminist? Does the game ultimately avoid, perpetuate, or contest the gendered discourses that it evokes? What can its simulations of a fictional mind in action tell us about our own? This article draws on cognitive, feminist, and narrative theoretical frameworks to question what the concept of fluidity means for a video game that mobilizes it through both narrative design and gameplay.Īrgamon, S., Koppel, M., Fine, J., Shimoni, A. But despite Faith’s welcome debut on the main stage of commercial gaming, the game raises more significant questions through its engagement with the multifarious concept of “fluidity” or “flow,” which is integral to both the gameplay of Mirror’s Edge and the themes in it. Faith, the protagonist of Mirror’s Edge, marks an empowered female character that is not hypersexualized, and the decision to employ a first-person perspective (thereby subverting any gaze offered by a third-person view) supports this design objective through gameplay. ![]()
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