Product Description

Electronic games have established a huge international market, significantly outselling non-digital games; people spend more money on The Sims than on "Monopoly" or even on "Magic: the Gathering." Yet it is widely believed that the market for electronic literature--predicted by some to be the future of the written word--languishes. Even bestselling author Stephen King achieved disappointing results with his online publication of "Riding the Bullet" and "The Plant." Isn't it possible, though, that many hugely successful computer games--those that depend on or at least utilize storytelling conventions of narrative, character, and theme--can be seen as examples of electronic literature? And isn?t it likely that the truly significant new forms of electronic literature will prove to be (like games) so deeply interactive and procedural that it would be impossible to present them as paper-like "e-books"? The editors of First Person have gathered a remarkably diverse group of new media theorists and practitioners to consider the relationship between "story" and "game," as well as the new kinds of artistic creation (literary, performative, playful) that have become possible in the digital environment. This landmark collection is organized as a series of discussions among creators and theorists; each section includes three presentations, with each presentation followed by two responses. Topics considered range from "Cyberdrama" to "Ludology" (the study of games), to "The Pixel/The Line" to "Beyond Chat." The conversational structure inspired contributors to revise, update, and expand their presentations as they prepared them for the book, and the panel discussions have overflowed into a First Person web site (created in conjunction with the online journal Electronic Book Review).

Product Details

• Amazon Sales Rank: #901399 in Books
• Published on: 2004-01-01
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 345 pages

Review
"First Person makes an invaluable contribution to the current discussion surrounding new media narratives, computer games, and the performative ties that bind them. The anthology brings together major players in the field who discuss their ideas in the appropriately open-ended format of statements and responses, all of which shed light on the aesthetic and social implications of our new experiences of stories."
—Christiane Paul, Adjunct Curator of New Media Arts, Whitney Museum of American Art

"You have entered the rotunda of a gleaming, new conference center. Above you hangs a banner: 'Welcome to First Person.' In front of you, you see doors leading into separate conference rooms, each of which is marked with a sign in large, Futura Bold letters: 'Cyberdrama,' 'Ludology,' 'Simulation,' 'Hypertext and Interactives,' and so on. You soon discover that every room in this virtual conference called First Person is filled with informed discussion and lively controversy from major figures in the emerging field of Game Studies. Some are arguing that digital games (as the heirs of the novel and of film) constitute the next great arena for storytelling; others respond that games are not narratives at all and require a different theoretical framework and a new discipline. Still others are describing their own exciting contributions to interactive fiction, poetry, or visual/verbal art. By the time you return from this virtual tour of the world of Game Studies, you realize that all of these rooms (and all these topics) are connected in an intricate and compelling architecture of ideas. You begin to understand the rich possibilities that computer games offer . . . as drama, narrative, and simulation. You come to appreciate the great theoretical task that lies before us in exploring both the formal properties and the cultural significance of computer games."
—Jay David Bolter, Wesley Professor of New Media, Georgia Institute of Technology

About the Author
Noah Wardrip-Fruin is Assistant Professor in the Computer Science Department at the University of California, Santa Cruz. He is the coeditor of four collections published by the MIT Press: with Nick Montfort, The New Media Reader (2003); with Pat Harrigan, First Person: New Media as Story, Performance, and Game (2003), Second Person: Role-Playing and Story in Games and Playable Media (2007), and Third Person: Authoring and Exploring Vast Narratives (2009). He is the author of Expressive Processing, published by the MIT Press in 2009.

Pat Harrigan is a freelance writer and author of the novel Lost Clusters. He is also the co-editor, with Noah Wardrip-Fruin, of First Person: New Media as Story, Performance, and Game (2004) and Third Person: Authoring and Exploring Vast Narratives (2007), both published by the MIT Press.

Customer Reviews

Worthy sampler of an evolving area
A great overview of the intersections of games, linear stories, and interactive artworks. This book almost inevitably leaves you with a richer perspective, because the range of articles (the uses of voice synthesizers to the Sims) makes it unlikely that you are familiar with all the terrain. The commentary discussions parallel to the main text give a feeling like chatting with your smart friends about some brilliant lecture you just saw. Thought provoking and fun.

Drama and New Media Forms
What has particularly excited me is the opening chapter on "Cyberdrama"... it discusses approaches to story, game play and engagement in terms that echo what we are trying to achieve in Drama education. Throughout the book (and this is from preliminary browsing) there are discussions about narrative and simulation and disticntions being drawn bewteen perceptual positions of players ... the writers that have contributed to this book have a very clear sense of the notion of "role" and I am starting to think that this book may well serve as the basis for investigation into the role of technology in Drama ( and possibly other) education for the next few years. Other promising looking chapters include such discussions as "Moving Through Me as I move: A Paradigm for Interaction", "Unusual Positions: Embodied Interactions in Symbolic Spaces", "Narrative, Interactivity, Play and Games: Four Naughty Concepts in Need of Discipline", " Videogames of the Oppressed: Critical Thinking, Education, Tolerance and other Trivial Issues", "A Preliminary Poetics for Interactive Drama and Games"

The authors contributing to this book are well known to anyone who's started looking into Drama and technology - Janet Murray , Espen Aarseth and Brenda Laurel are all there, alongside more familiar "drama' voices such as Richard Schechner...

As a high school drama teacher, I have a keen interest in new media applications in Drama education - it seems that many of our number are still focussed totally on their Drama classrooms and while they have an interest in technology are not actually making much headway with developing knowledge in the area - this retards developing discussions when there isn't a common language and some basic concepts upon which to build our discussions and investigations...

I think this book "First Person" is probably as good a starting point as is available at the moment. It provides a broad overview of the scope of "new media" interactions and there is definitely what I would call a "drama sensibility" contained within it.

The other book I've just started looking into is Marie-Laure Ryan's "Narrative as Virtual Reality"

Narrative As Virtual Reality: Immersion and Interactivity in Literature and Electronic Media

What looks promising here is Chapter Nine: "Participatory Interactivity from Life Situations to Drama". I've yet to properly digest the chapter - I've been intrigued by some of the statements I've encountered, for instance "For interactivity to be reconciled with immersion, it must be stripped of any self-reflexive dimension"... I'm not sure that is exactly what we are trying to do with Drama (or any form of) education - we are generally trying to become aware of the symbolic forms we are engaging with... although in a Stanislavskian sense, it might just be that this ne dimension of building belief is somehow well placed in Drama... I tend to think the Brechtian requirement for distance might be better suited... but that can be a discussion for another day... for the time being we need to start to come to grips with some key concepts in the new paradigm we have the opportunity to define...

Once again... as Drama people we know the need for social constructivist approaches... I'm hoping we can live that rather than just posit it....

We are trying to establish a special interest group called DramaPlayShop.org... you're welcome to drop in!