Hamlet on the Holodeck Export

@book{citeulike:771768, abstract = {Murray discusses the unique properties and pleasures of digital environments and connects them with the tradition satisfactions of narrative. She analyzes the dramatic satisfaction of participatory stories and considers what would be necessary to move interactive fiction from the formats of childish games and confusing labyrinths into a mature and compelling art form. She also introduces the reader to landscapes populated by witty automated characters and tele-playing interactors, who together make up a new kind of commedia dell'arte. Through a blend of imagination and techno-wizardry, Murray provides both readers and writers with a guide to the storytelling of the future. She analyzes the state of "immersion," of participating in a text to such an extent that you literally get lost in a story.}, author = {Murray, J. H.}, booktitle = {Hamlet on the holodeck: The future of narrative in cyberspace}, citeulike-article-id = {771768}, comment = {The best quote to describe the tension between Murray's view of games as narrative forms, and her critics is Stuart Moulthrop's "From Work to Play," in "First Person: New Media as Story, Performance and Game," (p. 58): "Janet Murray, whose remarkable insights about digital art come mixed with an oddly antique strain of narrative theory that seems bound to annoy even lapsed postructuralists" and contrasts her understanding of narrative as where "the reader's primary cognitive activity consists of interpretation," with an understanding of games "as cultural forms in their own right. . . In games the primary cognitive activity is not interpretation but configuration, the capacity to transform certain aspects of the virtual environment with potentially significant consequences for the system as a whole" (p. 60).}, keywords = {configuration, design, game, immersion, narrative}, posted-at = {2006-07-24 22:04:53}, priority = {0}, publisher = {The Free Press}, title = {Hamlet on the Holodeck}, year = {1997} }

TY - BOOK ID - citeulike:771768 L3 - citeulike-article-id:771768 N2 - Murray discusses the unique properties and pleasures of digital environments and connects them with the tradition satisfactions of narrative. She analyzes the dramatic satisfaction of participatory stories and considers what would be necessary to move interactive fiction from the formats of childish games and confusing labyrinths into a mature and compelling art form. She also introduces the reader to landscapes populated by witty automated characters and tele-playing interactors, who together make up a new kind of commedia dell'arte. Through a blend of imagination and techno-wizardry, Murray provides both readers and writers with a guide to the storytelling of the future. She analyzes the state of "immersion," of participating in a text to such an extent that you literally get lost in a story. TI - Hamlet on the Holodeck PB - The Free Press T2 - Hamlet on the holodeck: The future of narrative in cyberspace KW - configuration KW - design KW - game KW - immersion KW - narrative N1 - The best quote to describe the tension between Murray's view of games as narrative forms, and her critics is Stuart Moulthrop's "From Work to Play," in "First Person: New Media as Story, Performance and Game," (p. 58): "Janet Murray, whose remarkable insights about digital art come mixed with an oddly antique strain of narrative theory that seems bound to annoy even lapsed postructuralists" and contrasts her understanding of narrative as where "the reader's primary cognitive activity consists of interpretation," with an understanding of games "as cultural forms in their own right. . . In games the primary cognitive activity is not interpretation but configuration, the capacity to transform certain aspects of the virtual environment with potentially significant consequences for the system as a whole" (p. 60). AU - Murray, JH PY - 1997/// ER -