Julie Veitch is a PhD student at the University of Waterloo whose research focuses on “detecting figures” and the construction of authority in modern Occult-Detective fiction. She is particularly interested in the way that form affects narrative content and how… Continue Reading
Some forms of immersion focus upon the repetitive execution of a particular task or activity involving a certain degree of agency (Adams, 2004; Holopainen & Björk, 2004; Ermi & Mäyrä, 2005; Calleja, 2011). While in video games, immersion into activity often involves manipulating interfaces using a keyboard, mouse, or controller; in larp, kinesthetic involvement is more fully embodied. Some larps still use representational mechanics for combat, e.g. using one’s hands in rock-paper-scissors in a Vampire: the Masquerade larp. Others use a mixture of embodiment and mechanics, such as hitting a combatant with a foam sword and calling out numbers to represent the amount of damage incurred. Continue Reading
In constructing an immersive experience for its players, Journey gives its in-game space a starring role. In the absence of text, voice acting, and general lack of traditional narrative exposition, players wishing to draw out the game’s story are to depend solely on the game’s spatial design. Journey starts with an unidentified protagonist in an unidentified land. A cut-scene brings a distant mountain into the players’ focus, marking the mountain as an end destination. Continue Reading
What does it mean to be immersed in something?
This is a question I’ve been asking myself for the last year or so. As a member of the Games Institute, which is part of the IMMERSe network, this question is one that pretty much pervades my 9-5 existence. It’s not always at the forefront, but it’s always there. Continue Reading