Transit<\/p>\n
I\u2019ve often considered how games are an escape to a fictional adventure or journey, but this article has shed new light on the subject. It\u2019s an interesting look into human desire when we consider how a virtually running or driving through a countryside in the convenience of our homes is more sought or desired than physically making a long, tiring, uneasy journey (for some). The \u2018thrill\u2019 of a sandbox or open-world game is giving the player complete agency in how they traverse and experience the virtual place; but we have that in real life\u2026 We must still consider that not all games and genres provide a similar \u2018journey;\u2019 considering those that provide instantaneous transport to continue an action-heavy gameplay.<\/p>\n
<\/p>\n
Narrative Environments<\/p>\n
In the context of the \u201cTransit\u201d reading, the explanation of what provides a narrative place assumes a particular meaning; that is, not just when a place has a narrative history, but when it can be explored and experienced in a thoughtful and slow manner, is it a narrative place. The topics of community and identity bring up the facet of immersion which is present in MMORPG\/MMOG\u2019s: The simulation of exploring a space becomes more personal and the player\u2019s involvement\/dedication to that space grows as the experience as a \u2018resident\u2019 and not as a guest. This is something not provided by various sadbox games where one assumes the role of one main character.<\/p>\n","protected":false},"excerpt":{"rendered":"
Transit I\u2019ve often considered how games are an escape to a fictional adventure or journey, but this article has shed new light on the subject. It\u2019s an interesting look into human desire when we consider how a virtually running or driving through a countryside in the convenience of our homes is more sought or desired<\/p>\n