Search

The search found 3 results in 0.008 seconds.

Search results

1. La femme qui ne supportait pas les ordinateurs

   L'une des premières œuvres de fiction interactive réalisée par une créatrice, La femme qui ne supportait pas les ordinateurs, est un examen des harcèlements sexuels dans la cyberculture. Le jeu, écrit par Chine Lanzmann et codé par Jean-Louis Le Breton, permet au joueur de se faire passer pour une femme qui doit faire face à de nombreux séducteurs. Fait intéressant, l'un des prédateurs sexuels est un ordinateur. Le jeu est stylisé sur un chat sur Minitel, où plusieurs questions sont posées au joueur. Elle ne peut taper que deux réponses : "oui" ou "non", qui influencent le résultat du jeu. Cependant, plus le joueur s'implique dans le chat simulé, moins il a de chances d'éviter l'une des six fins, toutes négatives.

   Filip Jankowski - 06.05.2018 - 20:14

2. Their Angelic Understanding

   In Their Angelic Understanding (2013) the player character lives in fear as the enemy of angels, whose visitations are not heavenly but tortuous violations. She has been scarred and wounded by an angel, and no one came to her aid. She is unconsoled, deeply conflicted, feeling somehow complicit in her own violation: “… I finally woke up, stupid stupid stupid, no one will save you, no one cares./ No one cares when an angel touches you. / I realized what I had to do./ I had to sacrifice my desire to be thought of as a good person.” She lights off on a surreal journey to confront those who have hurt her. At one point she has to clean the streets of amputated hands that fall ceaselessly from the sky, covering every surface. She has to play a cruel game of endurance in which she and her opponent must clutch red vampire tiles that cut their flesh and suck blood from their hands.

   Ana Castello - 09.10.2018 - 12:30

3. Howling Dogs

   In Howling Dogs, Porpentine presents us with a bleak picture of existence. The player character lives in a cell-like environment. The only escape on offer is a virtual reality system that places the player in variety of dark fantasy environments. As Porpentine writes, the system offers “false catharsis in the form of these victories–but at the end of the day you’re still in the black room” (Heartscape and Short, 2012). Porpentine weaves the biological, the mundane, and the drudgery of ordinary life into the surreal unfolding of her often-painful hypertext fantasia. When there is a bed it is there for you to sleep in. In Howling Dogs, you need to eat by getting a nutrition bar that varies only slightly in its flavor in successive meals, and you need to drink before each session with your virtual reality device.

   Ana Castello - 09.10.2018 - 12:32