“Hype Life 3 Confirmed” – the / a game

In what ways does Half Life 3 exist, andor not?

Consider you’re already living and playing in a post(/modern) Half Life 3 era – that there seems a way in which game experiences like HL3 are not only already ‘confirmed’, but already in the complex process of being actively played by a large, passionate userbase

That is, by simply pretending that (for example) “Half Life 3” exists – or even (/unconsciously) pretending to pretend – one might already somehow be playing “Half Life 3”

There seems a way in which it doesn’t matter too much whether “The real Half Life 3 by Valve” is released or not – discussions about it appear to be a fully functioning, online social game space – its very own (diffused) reality / simulation

We might call such a game “Hype Life 3 Confirmed”

Hype Life 3 Confirmed
Hype Life 3 Confirmed

There appears a mass psychological (emergent) need to confirm the existence of HL3, to state in varied ways the varied ways it is, isn’t, or might exist. Such a practice feels like a cross between Conceptual Art, MMORPGs and Alternative To Reality games – a form of gaming that might be termed Verisimilitudes (as in, very similar-to’s)

HL3C seems to be a persistent potential game, a game of potentials – ideas and concepts continually evolving and floating around (/as) Online with strange life and momentum – a game  system of hopes, ideals and expectations – vivid imaginings

Not longer does the old Expectation Equation of (progress*valve-time) / (expectations + expectations*valve-time) apply – playing Hl3C, everyone gets the HL3 they (/think or imagine they) want or need, simultaneously – maybe even if they don’t want or need it

Just like HL3 in the distributed hive minds of fans, many definitive versions of HL3C exist. Rather than endlessly wait for some gaming hypercorp to create The Second Coming of Freeman, consider how ‘endlessly waiting for some gaming hypercorp to create The Second Coming of Freeman’ might be an expression of HL3C gameplay – part of the incredibly complex holographic network of emotions, truths and illusions which makes up the semi transparent biodigital polyverses of social dream spaces like HL3

So rather than just saying “*pffff* Half-Life 3 will never release!”, also consider such statements yet another part of the game / virtual experience one can play with(/in) – ignore, respond to or modify

Indeed, the active game state of “Hype Life 3 Confirmed” may apply to any number of other games or concepts that involve or require wish fulfilment, media / hype, social confirmation or mass reality simulation to exist

Conceptual Experience: The Perfect Postmodern Image

“The Perfect Postmodern Image”

"The Perfect Postmodern Image"
“The Perfect Postmodern Image”

Price for this concept considered as Virtual Art Experience: £9M

Example Artistic Statement

Robert What: To consider the idea of a ‘perfect postmodern image’ – an idealized conceptual simulacrum, a faded dreamy virtuality, a supreme utopia of image (somehow) perfectly encapsulating the hyperreal Weltgeist

The side-tilted verticality of this ‘Geotraumatic‘ volcanic eruption at (information) sea points to a disconcerting organic strangeness – a permanently out-of-focus state of extreme modern Being

How YIIK RPG by Ackk Studios constructs “postmodern”

Like some American version of Persona or Earthbound with hipsters, consider how YIIK RPG possibly constructs or views itself as “post-modern”

One might first begin analysis by arbitrarily defining Postmodernism as (for instance) “The way Play Culture mis-relates to its own output”

Perhaps therefore what’s ‘postmodern’ about Y2K is that it’s already fully embedded in Play Culture – that it’s postmodernism is invisible, transparent, automatic and all-too fully relatable to, precisely because such Culture is now everywhere; the whole system is a game

Just as games like YIIK are everywhere nowadays, its particular brand of / spin on Postmodernism™ expresses that often particularly cloying ‘AAA Indie’ style. It’s offensively unoffensive Quirkyness as an extreme sport. In game development terms, ‘quirky’ is the lite, polite, highly polished underside of “Janky” or #WELGESTYLE

For indie proponents of Quirk, everything can’t be too slick or bright enough

Mark Leyner returns with #gastro – an online literary experiment

After a long prolapsed absence, Mark Leyner’s digital surface shadow returns to the Scene with “#gastro”: a digital storytelling, transmedia, cross platform collaboration with fans™ spanning the globe and the Liquid Internets

His previous ‘instant cult classic – just add mainstream approval‘ / best early morning ‘on my way to PIlates class w/ a broken soul’ subway novel My Cousin, My Gastroenterologist via simulation Mark Leyner is in no way just another tantalizingly sublime postmodern absurdist booklet composed of 17 loosely-related chapters with no general storyline

Mark Leyner (copy) - image via Charlie Rose
Mark Leyner (copy) – image via Charlie Rose

Rather than being voiced in first-person by some anonymous narrator often using jargon, broken grammar and punctuation with a hip hop poetry-like structure, the narration is its own character, shifting quickly from nonlinear idea to idea with immense neural connectivity and bioelectrical stimulation between them

The resulting psychedelic-lite flux typically hurls forth ultra-vivid descriptions of intensely abstract (and repo-intense) urban situations. The hot literary styles in the book vary significantly as well, with apparently solid identity regarding The Text Itselves. All characters and ideas emerge suddenly and disappear with nothing but endless explanation

Within this acute formlessness, primal radio-activated elements incorporating proto Neuropink science fiction, tabloid journalism, and sensual advertising slogans. Due to its widespread abuse of pop-culture references (eg. Wuxia films about postmodern literary allusions) M.C.M.G requires knowledge of the ever shifting existential moods and ontological modes of hyper-current affairs

In this regard and to these uncertain ends, insanely muscular literary borderland bandit Leyner resorts to acid etched irony and chemically-induced humor-tumor as a means of interplay / interface with traditional irrealism

Playing #gastro

In the surrealistic, off-kilter style of A Million (stoned) Penguins, fans / players of Mark’s uniquely penetrating cosmic oeuvre simply submit links to their (often Uncreative) Leyneresque / Leynerfied fan art, using the Twitter hashtag #gastro

Mark Leyner / #gastro
Mark Leyner / #gastro (via Wikipedia)

Such User Discontent can include images, remixes, re-appropriations, silly Vines and weighty posts from self unconfessed Ludonauts explaining it all in longhand

If such a mini-game results in entertaining, thoughtful examinations, it may hopefully encourage Mark to take his deliciously experimental, criminally underrated take on hypermodern literature further / deeper Online – to expand it in ways that even surprises himself. Ways like this, for instance

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This is the first (and last it turns out) example of / tweet about the Mark Leyner inspired #gastro experiment. Enjoy, oh bittersweet menthols of Autumn

Reading random: Twine and B.S Johnson’s “novel in a box”

Consider the burden of interactivity that often effects modern Play

Likewise, consider the ‘visual writing’ / “novels in a box” of B.S Johnson and how technologies such as Twine may be express such an idea – that of a minimalist Random Text Display (R.T.D) interface

What might be interesting: to strip away the interactive promises (fictions?) of hypertext and simply display text in the middle of a screen, and nothing else

When the player clicks on the text, a next random text is displayed. (Upon first viewing, Twine should not repeat – display any text twice – until all the text has been shown)

Consider the effects of such minimalist interfacing with such experimental, hypertextually-unadorned text

Instead of just a novel in a box, we might face ‘text in the wild’, or just ‘code on the Nets’

"Check out my minimalist textual Twine field"
B.S Johnson: “Check out my minimalist textual Twine field”

In-Game Chat

Dylan Kinnett
Submitted on 2015/01/21 at 3:48 am

> Have you read “Afternoon: A Story”? It came to mind when you mentioned “strip away the interactive promises (fictions?) of hypertext and simply display text in the middle of a screen, and nothing else” because, as an early hypertext, that’s essentially what this text does. The player can click on any part of the text at all, to be taken to something next. Sometimes it seems random, what comes next. Other times, it is not random.

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Robert H. Dylan
Submitted on 2015/01/21 at 4:26am in reply to Dylan Kinnett

Hello Mr. Kinnett

Sadly, no – Michael Joyce’s sublime hypertextual meditation retails for smooth $24.95 from Eastgate and is therefore currently paywalled artificially (‘eastgated’) from my attentions

“Random” as it’s used here is admittedly a fuzzy term. In a sense, all hyperlinks in I.F may be considered arbitrary and ‘random’, even when carefully Authored. A link in itself is no automatic guarantee of a connection – as in ‘a meaningful inter-relationship.’ Rather, it (also) serves as a cultural meta-rule concerning links between alleged Meanings

Just as Johnson’s loose leaf narratives / aleatory lexia deal with death and loss / fragmented memory, likewise (symbolically speaking) Eastgate’s summary of Afternoon as involving ‘tangled strands of knowing and memory, the interconnections that bind’ could simply be a false, or philosophically contestable Connectivity – a sign of fragmentation and loss as much as a narrative joining together

Speaking of which, have you read Avital Ronell’s awesome Telephone Book? Now that would be a Twine experience to remember / forget

[..] am still considering hiding all hyperlinks on this site, as an aid to attention and to decrease cognitive load

Thanks for dropping by to play