Kindred Code
From Maze
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| − | 10 Print is not a game. It does not present itself as a game. It has no playable character. And aside from stopping the endless progression of the drawing loop, the person at the screen has no opportunity for interaction. The person may try to solve the maze, find various paths through, but these attempts are frustrated by the continuous progression of the maze at it scrolls up the screen. By this criteria, 10 PRINT seems an unlikely object of study. | + | 10 PRINT is not a game. It does not present itself as a game. It has no playable character. And aside from stopping the endless progression of the drawing loop, the person at the screen has no opportunity for interaction. The person may try to solve the maze, find various paths through, but these attempts are frustrated by the continuous progression of the maze at it scrolls up the screen. By this criteria, 10 PRINT seems an unlikely object of study. |
Since the earliest studies of digital culture, writing about literary hypertext and game studies, much has been made of the potential, possibility, and power of interactivity. Hypertexts afford the reader the opportunity to engage in navigating the text beyond mere page turning. The interactivity of video games immerses the player in the gameworld. Certainly the early 21st century discourse on web 2.0 upholds a similar engagement through user actions and contributions, writing blogs, correcting and expanding wikis, tweeting. | Since the earliest studies of digital culture, writing about literary hypertext and game studies, much has been made of the potential, possibility, and power of interactivity. Hypertexts afford the reader the opportunity to engage in navigating the text beyond mere page turning. The interactivity of video games immerses the player in the gameworld. Certainly the early 21st century discourse on web 2.0 upholds a similar engagement through user actions and contributions, writing blogs, correcting and expanding wikis, tweeting. | ||
