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Many of us simply lack the higher education required to enjoy such work. Otherwise I fear your product will fail due to the mass-antiestablishmentarianism that they fear work like this may force on them. If your product contained more of the morceaux de texte that told the consumer what they were going to be die aankoop van, then they might be less fearful of trying it.
I agree there is justification in the existence of a counter-movement to the ubiquitous popamoles and even general banality. However, in contrast to the increasingly less interactive interactive movies, I believe in embracing gameplay as art rather than art as gameplay.
Maybe Michaël has arrived at a similar conclusion:
"So to be effective, art will need to mask as pulp, be simple, so it can be accepted by the unaccustomed masses. Even if your art is intended for an elite, it still needs to be able to pass for shallow because otherwise the people who enjoy it risk public scorn, or simply prevent scorn by ignoring the art."
"For all my talk about Bientôt l’été being my last work of art, it actually already contains the seed of how I want to proceed next. Which makes it both the piece that explored the furthest and the one that allowed me to discover a new, simpler approach to this medium."
"The creation of Bientôt l’été has been a life altering process for me. So much so that I feel I am starting anew. I have discovered so much, learned so much, changed so much.
I’m not sure if I ever want to do this again."
In this light an interesting read is the commentary on David Cage describing the game industry having a “Peter Pan Syndrome".
http://www.rockpapershotgun.com/2013/02/07/david-cage-refuses-to-grow-up-says-man-in-his-chair/
First, having a familiarity with the same theorists doesn't guarantee each person will come to similar conclusions. It's possible to be familiar with Deleuze and not accept his configurations, and even those people who take up Deleuze's theories in their own critical practice disagree. Secondly, there's no reason to discredit the kind of knowledge a player will bring to an experience just because you don't think it's the most salient knowledge possible (as if there were such a thing). Post-structuralism can provide ways into this experience, but a knowledge of dada or Duras or John Cage or french film history could also be generative when one plays this game. Finally, it seems sad to think that because you are "initiated" into "the discussion of post-structuralism" that you already see all the "new ventures" this game is staking out. I think anyone could have something to learn from an experience no matter what theories they're familiar with, and I think the game would lose some of what makes it interesting if you already charted out it's whole place within the world (I don't think you have, that's just what your statement comes off as, as if by having the understanding of post-structuralism that you do you have somehow become master of the universe).
Samyn, I want to thank you for making the game and I hope sucess in this and future projects. The time and effort it takes to create is daunting enough, but to create somethng with the understanding that it may not be well received is admirable. I don't think I'm going to try this game right away (I usually like to sit on games for a while), but I do appreciate your work and the way your design philosophy shapes the wider discourse about games.
And though while I agree someone's experiences within fields outside of philosophy may [help them] come to understand this game in an equally legitimate though different way, the only way we can really account for their understanding of an idea is via the academic term to describe the paradigm, such as, and not limited to examples like "existentialism".
Anyway, it's obvious that any sort of education or cultural background will help one enjoy art better. But I don't believe it's absolutely essential to get something out of Bientôt l'été. Life experiences can make a big difference too, for instance.
Definitely have a look at Zizek; his notoriety is well deserved and packaged in a polemic form, providing some really novel thoughts like love being a violence.
Well the problem is that she doesn't carry the narrative well enough to convince me that there is a real passionate art lying behind all of this. I don't mind if things are a bit.. disconnected in terms of theme - I can accept that, and gladly would, yet something about her voice sounds somehow more contrived than genuine and that is what puts me off of this. Again, the ideas in all of this appeal to me yet the execution is worrying.
*Good books, Crime and Punishment is def the harder read, while Don Quixote is just funny, but long winded
I find it both illuminating and remarkably beautiful, a place for both reflection and action. Just walking the beach, remembering the words, watching the world change in colours from the bench. And then forming a relationship with another player, using these fantastic lines of dialogue that knows no equal, is really something of a dream come true.
Thank you.
Go ahead and be amused at the consternation and the generally poor reception of your product on this marketplace. Tell us how wrong we are for expecting one thing and getting another. By your own words, you really don't give a good ♥♥♥♥♥♥♥♥ about your audience and have instead taken this to a level of self-importance that I haven't seen from a developer since John Romero tried to make us his collective ♥♥♥♥♥.
Smug it up all you like, poseur. You've got my ten bucks. Enjoy yourself.