Diesmal im Programm:
- Defense against straight punches (mounted)
- Gun Defense against frontal threat
Diesmal im Programm:
„Kinda is the third serial of the 19th season in the British science fiction television series Doctor Who, which was first broadcast in four twice-weekly parts from 1 February to 9 February 1982.“ (Quelle)
Britische Kolonialvergangenheit und Psychotherapie als Kammerspiel – eine unheimlich zähe Doctor-Who-Folge, in der weder der Doctor glänzen noch die Gefährten Raum für Entwicklung haben. Um welchen Grundkonflikt es geht, ist schnell klar, und den Dschungelfieberbösewicht kann man nur betrunken für voll nehmen. Unerklärlich, weshalb das Ding ein Kritikerliebling ist. Ehrlich.
„Pollen is a first-person sci-fi mystery exploration video game developed by Finnish company Mindfield Games for Microsoft Windows. Pollen is playable on regular monitors and Oculus Rift virtual reality headsets (beta), and will be playable on HTC Vive. The game takes place in an alternate timeline of humanity’s history, on a research base called Station M found on Saturn’s largest moon Titan. The gameplay centers around semi-linear first person exploration, allowing the player to discover the story through puzzles and interacting with the objects around them.“ (Quelle)
Schöner Alternativ-Wurf, tolles Raum- und Audiodesign, aber wozu die albernen Puzzles? Drei Stunden dauerte das Let’s Play und der Kollege gab ziemlich Gas.
„The Old City: Leviathan is an experiment in first person exploration that focuses entirely on story. All that exists is you and the world. Set in a decaying city from a civilization long past, The Old City: Leviathan puts the player in the shoes of a sewer dwelling isolationist.“ (Quelle)
The Old City: Leviathan als Let’s Play zu erleben, war eine interessante, weil doppelte Erfahrung. Zum einen ist da der Titel selbst – das traumwandlerische Durchschreiten der in vielerlei toten Räumlichkeiten und Schauplätze. Und zum anderen der – in meinem Fall – völlig überforderte Let’s Player (Namen sind Schall und Rauch!), der weder mit der das Schulenglisch herausfordernden Sprache noch den Inhalten des Spiels zurecht kam und sich gegen Ende wie eine Mischung aus Astro-Hotline und hilfloser Achtklässler die Welt erschloss.
Wolfenstein: The New Order as a player-centric continuation of dystopian narrative traditions
Wolfenstein: The New Order (2014) is a best-selling video game and first person shooter following a saturnine premise: It’s 1960 and Nazi Germany not only is ruling earth ruthlessly but has also build a lunar high tech base. Alternative fiction dealing with the Endsieg of the Hitler regime has proven to be very popular in the last years: The Man in the High Castle, Iron Sky or The Plot against America are two successful examples of counter-factual media products.
These afore-mentioned instances go hand in hand with a dystopian narrative tradition that has been established in the 20th century by authors such as George Orwell, Aldous Huxley or Jewgeni Samjatin. The writers’ artistic world design concentrates upon totalitarian states that put elaborate methods of pressure on the individual’s autonomy in order to suppress their unfolding and blooming as a zoon politikon. Wolfenstein: The New Order also taps into that kind of world building and its typical components. Thereby it is fostering the dystopian tradition. But it also transcends and thereby enhances it by its ludological experience of gameplay.
Following the arguments of Mark J.P. Wolf and Bernard Perron the actions the player can carry out out while playing a game provide a layer of perspective in order to understand who the player is inside the game as well as to grasp what they are able to do. Their experience through their abilities and actions not only builds up their expectations inside the game world but it also sets their understanding of impact she or he has on the game state.
Not only did the critically-acclaimed title create a dystopian narration by its marketing campaign and in-game storytelling but also by taking-away the player’s control over the protagonist at a certain point of he game. Hence the player becomes an agenda-less pawn in the hands of the gameworld falling in line with the ‚finest’ dystopian tradition. Taken all together my talk therefore aims to describe and explain marketing, storytelling and game mechanics in Wolfenstein: The New Order as a powerful set of tools for the ludic dystopification of a medium that is centered around a human player.
The developers and publishers of Wolfenstein: The New Order (2014) skillfully use marketing campaigning, in-game as well as cut scene storytelling, and game mechanics to set up a continuation of dystopian narrative traditions established in the 20th century. Media following these patterns focus upon the politics of anti-individualization and the transformation of the political human entity into a agenda-less spectator and heeler.
„What Remains of Edith Finch is a first-person narrative adventure video game for Microsoft Windows and PlayStation 4. As Edith, players travel back to the Finch family home in Washington to explore her ancestral history after recent family events drive her to learn more about herself and the Finches. Edith explores the house through regular doors and secret passageways, as well as the individual rooms of deceased family members who have been preserved like frozen moments in time. Players experience varied stories related to particular family members, with thematic and gameplay elements that change from story to story.“ (Quelle)
In sieben Folgen begleiten die GameTube-LetsPlayer Edith auf ihrem Weg durch ein Haus…oder…ist es eher eine Mischung aus Seelenreise und Bewußtseinserweiterung? Es war auf jeden Fall eine feine Sache, mitgenommen zu werden. Gediegen, sehr gediegen.