Day: August 22, 2016

Game Feel

“To many designers, game feel is about intuitive control.”

“Even without a specific goal in mind, there is this intrinsic pleasure to control.”

Usually, the interaction of the objects you see on the screen on television and films is passively perceived. Leaning back and having a cognitive interaction is what experienced rather than leaning forward and have real-time control. However, by computers, interactive storytelling allow users to live active perception that gives an opportunity for exploring a simulated space using real-time control. Many new technologies enable documentary makers to create a game feel in their documentaries.

One of the oldest examples of interactive documentaries Aspen Movie Map by Andrew Lippman produced in 1978 under the Arpa sponsorship has this game feel.

By enabling the user to take a virtual tour through the city of Aspen, Colorado (that is, a form of surrogate travel). It is an early example of a hypermedia system and its game feel.

Today many projects were produced by 3d cam, or projects were enriched by Google technologies such as Project Night Walk gave us the clues about game feel in the new forms of documentaries. Participants gain an experience of flaneur in the digital environment. Having a touristic tour by having the sensation of control, learning the gestures of the movements on the screen and syringe them with your own perception makes the documentary more appealing and engaging.

Game feel is also supported by little achievements in the new interactive documentaries. For example; checkpoints in the Project Night Walk are designed to increase the attention and excitement in the participation.

Steve Swink mention about the five most common experiences of game feel in his book called Game Feel. (2009) These are;

  • The aesthetic sensation of control
  • The pleasure of learning, practising and mastering a skill
  • Extension of the senses
  • Extension of Identity
  • Interaction with a unique physical reality within the game

What we can see is that these experiences of game feel does not limited itself by video games. Many platforms and forms of the storytelling including interactive documentaries have these qualities.

Metaphors and Scenarios

Of all metaphors, metaphors of height, elevation, depth, sinking, and the fall are the axiomatic metaphors par excellence. Nothing explains the, and they explain everything. (Bachelard, 1988: 10)

Metaphor that often carry special cognitive effects or meanings arises from the interaction of brains, bodies, languages and culture.

Juggling – Regarded as representative or symbolic of throwing the objects up into the air and manipulating them dexterously (or not) is so much like the life itself. First of all, it is an attempt to resist downward force of the gravity with a constant attention and will. Once and for all, the slung object has to down by the gravity. This very natural phenomenon might be corrupted by arduous practice and precise intention. This implies a decidedly created experiment of verticality.

Juggling, as its definition; a coping with by adroitly balancing (several activities), is necessary for every stage of life. One can perform various patterns. Although it gets easier with the skill of other patterns, each new pattern needs dedicated practices and lots of wrongdoings what maybe after called experience. There might be very different aims behind performing the juggling acts. But, whatever the reason is that if it is a bright one, it “generally” hides much amount of repetition behind it. I used the word generally, especially because the definition of “bright act” might differ from person to person or with other conditions. Perhaps looking into it carefully requires aesthetic theory.

Rejection of rationalism about beauty is the immediacy thesis

“is that judgments of beauty are not (or at least not primarily) mediated by inferences from principles or applications of concepts, but rather have all the immediacy of straightforwardly sensory judgments. It is the idea, in other words, that we do not reason to the conclusion that things are beautiful, but rather “taste” that they are.”

Archiving —-

Digital also has its metaphors and taste. Operating in the virtual environment, putting the body out of actuality, creating by the readiness of numerical intervention emphasise the dualism behind the practice and will to verifiable experience.

Facebook as a meeting place

Video as an immersive atmosphere