Games are experiences

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Games are experiences Anonymous 20-02-25 19:19:29 No.40084

Non fictional books discuss hard facts or ideas. imaginary books focus on giving readers the experience of being in a character’s views whether that character is a real person or an imaginary one made by the author. Games are an amazing art form. They give players a chance to experience what it’s like to be in a moving world.

The best games are the most immersive games. They make you really feel as if you were actually just another part of the world you were in and we’re not just interacting with it. The player really feels as if there’s a world that exists beyond control.

Good games actualize materialism.

Glownonymous 20-02-25 19:27:02 No.40085

I'll just repost this here.

Anonymous 20-02-25 19:42:16 No.40087

>>40085
Man. I remember the days when gamers were still bitching about devs adding in quest markers instead of coomer garbage being removed from their favourite franchises. The gaming community fell off so bad…

Anonymous 20-02-25 19:48:20 No.40088

>>40087
Coomer garbage being removed is pretty much the same issue, an attempt to make games with as much mass appeal as possible.

Anonymous 20-02-25 19:54:11 No.40089

>>40088
Nah. When sex was portrayed maturely in grand theft auto, it worked—especially in San Andreas. In modern gaming it’s just the same spectacle nonsense you’d get from any other power fantasy.

No thinking, only consuming.

Glownonymous 20-02-25 20:05:23 No.40091

>>40087
Censorship of gooning material is still cringe. But there should be more people bitching about quest markers indeed, some of the bad aspects of AAA gaming are carried over from way before 2016. Like regenerating health and ADS.

Anonymous 20-02-25 20:25:58 No.40092

>>40091
ADS isn’t a bad feature, but it is a badly implemented feature. It works well in milsims or highly immersive shooters including far cry 2, S.T.A.L.K.E.R and New Vegas. Otherwise, bad design of ADS in games that don’t need it—mainly borderlands games—just makes it harm the experience.

Glownonymous 20-02-25 20:42:14 No.40093

>>40092
My dude, that's basically the point of the video. At least watch it.

Anonymous 20-02-25 21:59:08 No.40094

>>40093
I have. I can’t take the producer’s ideas seriously. He makes so many bad takes on his channel.

Anonymous 20-02-25 22:01:53 No.40095

>>40087
It shismed. The libs became disillusioned with liberalism and became leftists, and the rightoid libs has less center libs to appease so they adjusted to the demographic changes. Now you have the leftist gaming community playing indies and AA's and the smaller rightoid gaming community playing AAA's.

Anonymous 20-02-25 22:04:38 No.40096

>>40091
Honestly a lot of games don't really need health bars, often all you need is a state machine or just instakills.

Anonymous 20-02-25 22:05:20 No.40097

>>40091
I hate this genre of videos where the point can be summed in a single sentence (aiming down sights reduces game difficulty and complexity by separating movement and shooting, player only has to do one thing at the time), and then proceed to restate it a dozen times to stretch the thing to 20 minutes.

Glownonymous 21-02-25 05:10:41 No.40102

>>40097
>and then proceed to restate it a dozen times to stretch the thing to 20 minutes
I think you're oversimplifying this. The author just illustrates his point with examples.

Anonymous 21-02-25 14:27:11 No.40109

Crafts and our interactions with crafting are working class labor materialism. In the same way that bourgeois liberals scoff at "women learning useless underwater basket weaving", they also scoff at "people playing Minecraft" which similarly doesn't have an obvious, direct capital accumulation profit motive.
https://scholar.google.com/scholar?hl=en&q=video+games+as+craft
>This article repurposes Campbell’s (2005) concept of ‘the craft consumer’ to generate a new theory of video game consumption, which proposes that we identify the material practices typically associated with craft labour within acts of digital play. We draw on case studies from popular and community-driven video game titles including Dark Souls and Super Mario Maker to make our argument, suggesting that a grasp of the controls initiates material practices, like repetition, which provide the groundwork for craft skill. It is from this position that we argue that consumers initiate a craft-like ‘dialogue’ (Sennett R (2008) The Craftsman. London: Yale University Press.) with the game’s design that reveals the experimental and creative nature of video game consumption. Importantly, these case studies provide evidence to meet with Campbell’s definition of ‘craft consumption’ as an (1) ‘ensemble activity’ and (2) as a ‘collection’ of handmade things. The result is a better understanding of the consumer as someone who initiates experiences of skilled labour and creative self-expression through the craft of playing a video game. This article presents a new understanding of the (gaming) consumer whilst also challenging the idea that the experience of ‘craft consumption’ is typically reserved for the middle or professional classes, as Campbell maintains.

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