4. THIS AIN'T YOUR PARENTS' INTERFACE

       An increase in the level by which the world is mediated for us is compounded at the micro level of video games. They are media tools that glorify their most direct moment of mediation: the interface. Early home gaming consoles relied on one or two button joysticks, sometimes with a limited range of movement strictly along the X or the Y axis. Along with the increase of complexity in games was a growing functionality in the handheld controllers used to manipulate play. In what seems like an effort to outdo competitors, console companies regularly add buttons or reconfigure their arrangement with each generation of hardware. The Nintendo Entertainment System consists of directional pad, a 'pause' button, a 'start' button, and two red command buttons labeled 'A' and 'B'. By contrast, the XBOX controller has 12 functioning buttons and 3 separate directional pads. While game companies strive to present more fully immersive titles, the necessary technology for interacting with their games demands ever greater skill and dexterity. This at first appears to have the effect of stifling a fuller integration into the game world by presenting a more advanced system of obstacles to overcome. Yet, as the popularity of gaming increases along with the amount of buttons it becomes evident that players long for that heightened level of control. A chord dangles from the back of the game controller to the system as an extension of the body. Able to conceive of the series of actions that an avatar will play out, the gamer can realize their thoughts visually following an elaborate sequence of commands. For the experienced gamer the wires of the joystick come to stand as extensions of the nervous system as an impulse is carried from the brain through to the axon terminal of the hand arriving through synapsis at the neuron/game controller. The mental and bodily self conjoins with the gaming. As Lahti points out, games "are a symptomatic site of a confusion or transgression of boundaries between the body and technology that characterizes contemporary culture"3. As games and their hardware work to give the appearance of boundlessness, they reinforce an unawareness of corporeal experience. The psychical has moved outside of the body and is watched through a screen by the physical being.


 



| 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.