12. INVASION OF THE MIND

       Assumed in an examination of gamer-game interaction, is a moment of disconnect. Physically, it appears as though the player is detached from a game the moment she presses pause or turns off the power to the console. As mentally and physically present beings are what we are accustomed to interacting with, we are quick to perceive that someone in a social setting is "all there". Cyberpunk texts like Kathryn Bigelow's Strange Days have suggested the movement toward a concealed interface. In her example, a physical contraption is concealable by a hat or wig but the evolution of these devices into the level of nanotech implants is readily conceivable. Modern technology's most defining developmental trait is a decrease in size: iPod minis, PDAs and cellphones that function as personal computers, the mini PS2. Technology increases in scope as its occupation of physical space dwindles away. But perhaps we are at a moment where the actual presence of an interface is already unnecessary. I have caught myself analyzing my surroundings from the point of view of avatars I take-up in play. There is someone at a bar that I don't want to speak to, don't want to make eye contact with. Without the training of specific games, my instincts would be to look down or turn my head so that I may negotiate my way out of the situation unnoticed. Having recently become keen on the extremely popular subgenre of action games that set up goals requiring an enacting of stealth however, my options (for a fleetingly moment) feel as though they have increased significantly. There's a dark corner over there I can hide in. I could scale that wall and escape the room. Tip-toeing, I could sneak up behind this person and deliver a karate chop to their collar. The rules of gameplay invade my consciousness in certain environments, yet I am able to realize both the moral and physical capacity of my non-digital self. It would seem as though I prefer to act in relation to my playing mode. This is attributable to an emulation of real movement in game design, and as such, it is alarming to consider the trend towards an ever more immersive and realistic play scenario: one in which the apparent disconnect will mean nothing; one in which my ability to recognize these thoughts as the result of too much gaming disappears. When only select individuals in a group become hyperreal citizens allowing physical and virtual reality the appearance of seamless intermingling10, the potential for unification en masse is void.

 




| INTRODUCTION |
| ABOUT THE AUTHOR |
| LINKS | CONTACT | FORUM |
| WORKS CITED |

1. Invasion of the bedroom

2. "I like to watch, Eve."

3. The safest sex of all

4. This ain't your parents'
    interface

5. Invasion of the subway

6. Programming the city

7. Linguistic determinism for
    dummies

8. They'll be selling popcorn in
    my living room

9. I really didn't want to
      mention "The Matrix", but...

10. Narratology. Narratoday.
      Narratomorrow.

11. Add and abstract

12. Invasion of the mind

13. The procession of simulacra

14. My Sims clean up so I don't
      have to

15. Games make me murder
      people

16. Pause and reboot

17. Party like it's 1999

18. Real-world military
      simulation

19. Manufacturing consent
      in MMORPGs

20. I want to be just like me
      (only better)

21. The soundtrack of a
      generation

22. Invasion of the body

23. My mom went to cyberspace
      and all I got was this lousy
      t-shirt

24. When I get lost I stop for
      directions

25. Invasion of the soul

| CONCLUSION |

 

| INTRODUCTION |
| ABOUT THE AUTHOR |
| LINKS | CONTACT | FORUM |
| WORKS CITED |

Paul T. Hanlon's 2005 undergraduate thesis project, supervised by Prof. Susan Lord.
Queen's University Film Studies Dept.