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    <title>Pinboard (infovore)</title>
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    <description>recent bookmarks from infovore</description>
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      <rdf:Seq>	<rdf:li rdf:resource="http://www.magicalwasteland.com/mw/2013/8/20/creative-restriction-and-the-new-realism.html"/>
	<rdf:li rdf:resource="http://versusclucluland.blogspot.com/2008/10/limits-of-escapism.html"/>
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  </channel><item rdf:about="http://www.magicalwasteland.com/mw/2013/8/20/creative-restriction-and-the-new-realism.html">
    <title>Creative Restriction and The New Realism - Front Page - Magical Wasteland</title>
    <dc:date>2013-08-23T16:32:59+00:00</dc:date>
    <link>http://www.magicalwasteland.com/mw/2013/8/20/creative-restriction-and-the-new-realism.html</link>
    <dc:creator>infovore</dc:creator><description><![CDATA["This is not to say that real human interactions are not ritualized to the point of mechanic in some ways, but that procedural rhetoric about human life nearly always makes a specific argument: life works this way, life works that way. Counter to this, Gone Home eschews systems; in particular, it avoids systemizing anything about its characters. Instead of portraying the characters themselves, or providing a set of interactions with those characters, it presents instead a series of artifacts from the characters’ lives without trying to build mechanics around them. The family is only present through those artifacts, the shapes and shadows each member leaves behind. In a certain sense, you could say that the game sets its sights low. But it also hits its mark extremely well– and by doing so achieves something greater than a reductive mechanical take on those same characters ever could. Gone Home is not intended from the top down to be “a game about life”, as some ham-handed experiments have been– instead, it simply represents or evokes certain lives very well (and therefore naturally becomes about life). The game allows its characters to exist on a plane that we usually reserve for ourselves." This is a fine paragraph from a very astute take on Gone Home; for someone who talks so much about games as systemic media, it's good to be reminded so eloquently of all their other qualities I'm prone to forgetting.]]></description>
<dc:subject>gonehome games criticism realism narrative</dc:subject>
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<dc:identifier>https://pinboard.in/u:infovore/b:9d13e69375da/</dc:identifier>
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<item rdf:about="http://versusclucluland.blogspot.com/2008/10/limits-of-escapism.html">
    <title>Versus CluClu Land: The Limits of Escapism</title>
    <dc:date>2008-10-11T16:30:10+00:00</dc:date>
    <link>http://versusclucluland.blogspot.com/2008/10/limits-of-escapism.html</link>
    <dc:creator>infovore</dc:creator><description><![CDATA["This is the challenge, it seems to me: it's to do with the tools of design-- rules and states-- what other media do with images and sound: reveal the world as seen through different eyes, with lapidary clarity and moral courage. And this means moving beyond merely empowering and entertaining the player."
]]></description>
<dc:subject>iroquoispliskin escapism play games media art criticism entertainment story narrative</dc:subject>
<dc:identifier>https://pinboard.in/u:infovore/b:19ad66d6a772/</dc:identifier>
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<item rdf:about="http://pats-quinade.livejournal.com/125004.html">
    <title>Patsquinade - How my not-great plot happened: a mini post-mortem</title>
    <dc:date>2008-08-31T13:41:43+00:00</dc:date>
    <link>http://pats-quinade.livejournal.com/125004.html</link>
    <dc:creator>infovore</dc:creator><description><![CDATA["An interesting article at Rock, Paper, Shotgun tackles BioWare's tackling of issues tackling modern society, tackling one of my Mass Effect plots in the process. I responded in the comments, and after looking at how much I yammered on, I figured it was worth posting here as a look inside how these things get into the game, and why some things that seem dumb get done." Patrick Weekes follows up the RPS post criticising his own plot elements with some frank self-criticism, and some interesting explanations; a reminder of how hard creating any kind of meaningful choice can be.
]]></description>
<dc:subject>rockpapershotgun writing games masseffect bioware criticism postmortem plot story narrative choice</dc:subject>
<dc:identifier>https://pinboard.in/u:infovore/b:9cb6f642228e/</dc:identifier>
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<item rdf:about="http://www.feministe.us/blog/archives/2008/08/11/hair-pulling-and-braid-weaving/">
    <title>Feministe » Hair-pulling and braid-weaving</title>
    <dc:date>2008-08-26T21:52:45+00:00</dc:date>
    <link>http://www.feministe.us/blog/archives/2008/08/11/hair-pulling-and-braid-weaving/</link>
    <dc:creator>infovore</dc:creator><description><![CDATA["It seems to me that Tim and the nameless characters of the epilogue represent archetypes of some kind. They don’t stand in for every man and woman, certainly, but they’re emblematic of a certain kind of dysfunctional relationship, one where “I’ll protect you” turns into “I’ll control you.”" A smart, sharp reading of Braid, that understands its gameiness.
]]></description>
<dc:subject>braid games criticism writing critique narrative</dc:subject>
<dc:identifier>https://pinboard.in/u:infovore/b:4e2528329c2d/</dc:identifier>
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<item rdf:about="http://versusclucluland.blogspot.com/2008/07/gamers-are-maximizers-of-utility.html">
    <title>Versus CluClu Land: Gamers are Maximizers of Utility</title>
    <dc:date>2008-07-21T15:55:33+00:00</dc:date>
    <link>http://versusclucluland.blogspot.com/2008/07/gamers-are-maximizers-of-utility.html</link>
    <dc:creator>infovore</dc:creator><description><![CDATA["I thought this decision to attach a reward to the choice represented a failure of nerve on the part of the designers ... wedding a gameplay-reward to a decision that ought be governed by one's sense of character and motivation."
]]></description>
<dc:subject>iroqouispliskin criticism games writing gta4 narrative gameplay storytelling reward</dc:subject>
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<item rdf:about="http://clicknothing.typepad.com/click_nothing/2007/10/ludonarrative-d.html">
    <title>Click Nothing: Ludonarrative Dissonance in Bioshock</title>
    <dc:date>2008-07-20T18:42:38+00:00</dc:date>
    <link>http://clicknothing.typepad.com/click_nothing/2007/10/ludonarrative-d.html</link>
    <dc:creator>infovore</dc:creator><description><![CDATA["By throwing the narrative and ludic elements of the work into opposition, the game seems to openly mock the player for having believed in the fiction of the game at all."
]]></description>
<dc:subject>games story criticism narrative bioshock storytelling interaction play design</dc:subject>
<dc:identifier>https://pinboard.in/u:infovore/b:1c81d310626d/</dc:identifier>
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<item rdf:about="http://versusclucluland.blogspot.com/2008/07/final-exam.html">
    <title>Versus CluClu Land: The Final Exam</title>
    <dc:date>2008-07-13T08:52:47+00:00</dc:date>
    <link>http://versusclucluland.blogspot.com/2008/07/final-exam.html</link>
    <dc:creator>infovore</dc:creator><description><![CDATA["The capacity to convey narrative through interaction is a constitutive rather than accidental feature of the medium. Every time a designer exploits this ability we get closer to finding [...] what forms of expression are unique to games..."
]]></description>
<dc:subject>games criticism narrative story art expression</dc:subject>
<dc:identifier>https://pinboard.in/u:infovore/b:f6cc88712f31/</dc:identifier>
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<item rdf:about="http://online.wsj.com/article/SB121460385251911957.html?mod=2_1168_1">
    <title>'Grand,' but No 'Godfather' - WSJ.com</title>
    <dc:date>2008-07-10T22:11:51+00:00</dc:date>
    <link>http://online.wsj.com/article/SB121460385251911957.html?mod=2_1168_1</link>
    <dc:creator>infovore</dc:creator><description><![CDATA[Junot Diaz on GTAIV in the Wall Street Journal. Excellent writing, on the nature of good vs. great and great vs. seminal; on what art does to us; on how it needs to go farther. Smart, engaged, written by someone who gets culture and who *plays*.
]]></description>
<dc:subject>junotdiaz criticism writing games play gaming gta gtaiv narrative art</dc:subject>
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