User:Grrrreat/research/essay trim2
Lensflare Paradox
You find yourself on the roof of a train, you see the shackles on your hands in front of you. No hint of where they came from as you reach the end of the cart and jump feet first into the window of the rear door of the next one. A guy with a gun falls, you grab the weapon, a crosshair appears in the middle of the screen in the exact same moment as another guy with a gun tries to find some cover. You shoot him before he can hide. The second one tries to run, but you shoot him in the back before he can get to the end of the train cart. Now there's a short pause. You notice a beer ad in the train, and maybe you can also see the strange speckles that seem to be in front of your eyes, blurry but fixed, not moving, reacting to the light. And as you walk through the corridor and come closer to the ceiling lights a lens flare appears. You reach the next part of the train and there is new bad guys to shoot.
This how the first minute of 'Battlefield 3' usually plays, a first person shooter, set in a fictional war in which you are a US elite soldier killing thousands of enemies in the course of the game. The setting and game mechanics are pretty much comparable to almost all bigger war-themed ego shooters of the last ten years. These games work very similarly to a lot lesser sophisticated war movies, delivering a mostly generic narrative to encircle a series of action scenes, tough guys and heroic phrases, but with the added element of interactivity and immersive experience. This experience is best achieved by creating something players call a 'realistic' game environment. At first this may sound very obvious, because the more realistic, the more believable a game might be, therefore the more immersive it can be. Being realistic might not even be a key factor for games to be immersive, but in first person war-themed shooters, it seems to be a big deal for their focus group of players.
From here on only rough draft anymore:
- How to achieve the effect
- Not real but Unreal!
The interface of pervasive games is strictly virtual by creating a second layer on top of reality. In this semantic realm the players can move and interact besides the first layer, reality. But they have to be conscious about both layers at the same time. Generally in computer games this is different. While they create a second virtual realm, it is not so much of a layer on top of reality but more an artifical world in which a player has to worry about the real world only very little because the machine and their input and output mechanisms are stationary. But still the semantic realms have to created and appropriated in order to make the players understand the game. This goes as far as games using interface elements and effects found in previous or similar, well-selling games just because the players are used to them already, not questioning their actual function or impact on the game mechanics.
- Where else can these phenomena be found? Draw a wider circle, from micro to macro.
War Movies: short shutter speed to get gritty, hyper-real images without blur. Insinuates the alertness and adrenaline rush of the combatants. smoke signifies uncertainty.
Cinema: dominant cultural form (de mul). Narrative. War movies again. Therefore symbolic forms used to mediate parts of the narrative become visual vocabulary, which again is found in games. The form of its mediation is being shaped.
Possible Conclusions:
1.It's the mediation what makes it 'authentic', not the content. What does this mean for these kinds of games? The format does not rely on the actual story? Like reality TV? Reality TV can be bent in every direction (Brooker, Screenwipe) as long as it 'looks' authentic it will work. So the mediation has to set it apart from the codes/interface? Of regular movies, series etc.
2.It is a semantic construction. The symbolic forms and the effects are the interface besides the obvious 'game interface'. They result from an evolutionary process producing a refined vocabulary of our understanding of a certain 'theme', only partly consisting of realistic representations of the theme, like war for instance, but mostly consisting of the mediated and charged up forms of it communicated mostly via films and games or also books, music or whatever media are close to the theme..
Therefore in order for a game to be real it has to attain the reality of this mediated form and not the actual reality.
Mediation makes us understand the 'real'/the it/the thing
One of the very few games that tried to be a really realistic war game, annoying most gamers and pleasing a very small fanbase (consisting of actual soldiers or former recruits?). http://de.wikipedia.org/wiki/Operation_Flashpoint_(Computerspiel)
Source:
"The Pervasive Interface", by Eva Nieuwdorp Jos de Mul, "The work of art in the age of digital recombination" http://en.wikipedia.org/wiki/Battlefield_3#Plot http://www.youtube.com/watch?v=Btwnh-hbrSs