Future Cinema

Course Site for Future Cinema 1 and Future Cinema 2: Applied Theory at York University, Canada

Jagoda Q’s

1. Jagoda analyzes numerous linear narratives that frame networks. Here, he claims that most 20th century literature, especially in sci-fi, created “dystopian” visions of networks. Are there any examples of narratives in this period that frame networks in a positive light? Are there any futuristic texts that look forward to the future, rather than dread its arrival?

2. Jagoda says, “networks may make individuals obsolete or irrelevant.” Is this something we should potentially embrace? Is this something we might need?

3. Jagoda posits that, “total authorial management may inform certain digital games, but are not characteristic of the art form,” because there is not a clear link between storytelling and games. Do games, or films or comics or paintings, need to have a “story” to be considered “authored? If games are art but do not need “total authorial management”, what does this say about games as art?

4. For Jadoga, there is a distinction between single-player and multi-player games. He agrees with McKenzie Wark when Wark says, “perhaps the single-player game will become an anachronism, superseded by multi-player worlds.” But what is the distinction between “single” and “multi”-player worlds? If we remember Isbister’s book, players can have similar emotional reactions to AI controlled, non-playable characters (NPCs) as they might have to real people. This begs the question: are we really even playing “alone” when we play single-player games? If we relate and avatars and NPCs in tangible ways, how does this complicate said distinction?

Thu, November 15 2018 » Future Cinema

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