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Re: toning down some
- To: firstname.lastname@example.org, "Mark 'Kamikaze' Hughes" <email@example.com>
- Subject: Re: toning down some
- From: firstname.lastname@example.org
- Date: Sun, 12 Jun 2005 13:12:30 -0500
- Cc: email@example.com
- Reply-to: firstname.lastname@example.org
- Sender: email@example.com
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Quoting Mark 'Kamikaze' Hughes <firstname.lastname@example.org>:
> WHAT USEFUL INFORMATION ARE YOU SHARING?
Mark, when I talk about Shakespeare, Picasso, etc I'm talking about ART in
caps. the big stuff most of which was considered little stuff in its time.
The list is called iDrama. If you use the word drama you get Shakespeare et al
because he is the bar. All I am saying is anyone doing anything which invokes
art or drama has to aim for the bar. You can't go low.
When the NY Times article on Facade came out last week they immediately put the
unreleased Facade with "Who's Afraid of Virginia Wolfe" which is Albee someone
who has spent his life aiming and reaching the bar.
"This is the future of video games. In their modern riff on "Who's Afraid of
Virginia Woolf?" Walter was the only human. Grace and Trip were virtual
characters powered by advanced artificial intelligence techniques, which
allowed them to change their emotional state in fairly complicated ways in
response to the conversational English being typed in by the human player. "
It wasn't by accident that Michael Mateas and Andrew Stern aimed at the bar.
They aimed, they shoot and if they didn't hit it they came close enough for the
obvious to be recognized. All art begins with imitation. McLuhan said the
content of every new medium is an old medium. They are just following history
and it will lead them to the promised land. When Chris Crawford did the
Erazzmatron he immediately got Laura Mixon, a published writer into the mix.
When Laura isn't in the mix Chris constantly goes back to Morte d'Arthur. Same
I originally objected when it was suggested that randomly generated art could
be in the mix as eye candy. I objected because real ART has never worked this
way. It is always intentional even when it has a computational probabilistic
base - the gun is always on stage for a reason. Do I think interactive
storytelling is possible? My answer is no because it has always existed in the
game. Actually, at Chris Crawford's very first Phrontesterion (sp?) Ron Gilbert
started the discussion off by saying that games are interactive storytelling
and that dividing the discussion was wrong. He used Freddy Fish and Pajama Sam
as examples. The entire discussion literally and figuratively divided. Chris
likes to say that is was the old art/science split but I always thought it was
that Ron Gilbert was right and Chris was wrong. In my beginning classes I
always begin with Pajama Sam, Rockett and Ludtke's 'Bad Days' as the best early
examples of interactive sorytelling thru games, I consider these the equivalent
of early film but in games. I think all of these have aimed high and hit their
marks even if some of them weren't financially successful.
I'm just looking for the ART. I apologize for mentioning other names but
unfortunately I have read, seen, played and listened to them and they continue
to roll around my head.
- ART vs. DRAMA
- From: "Brandon J. Van Every" <email@example.com>