I don’t think the game is implying that films are better than games in terms of evoking emotion, and Ledonne has been fervent that games are full of potential, and that his game is in part an attempt to point at at this potential. Whats most significant about SCMRPG is an innovation in the dynamics, yes the dynamics, but not any innovation that can be quanitified with feedback loops or systemic patterns. Its in the player’s psychological dynamic, infused with alternating dissociations, that make the game a potent glimpse of the medium’s true power.
I would argue thats a dynamic instead of an aesthetic because it affects how the game is played.
Also, I think this issue could be treated with much bolder interactivity if a drama engine were applied to it. I wonder what Craig would have to say about that.
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