 |
2016-01-27 15:41:48 R●●●●●●d D●●●●●●y buy ●●●●●●n ●●●●●●is Video-game ●●●●●●ce is, like all ●●●●●●en ●●●●●●ce, an act of play. But the ●●●●●● has a ●●●●●● ●●●●●●ty to ●●●●●●le, and even ●●●●●●ate, its ●●●●●●ce ●●●●●●h its ●●●●●●●●●●●●y. When we watch a ●●●●●●t scene in a film or read a ●●●●●●ption of ●●●●●●ce in a novel, no ●●●●●● how ●●●●●●c it is, we are ●●●●●● ●●●●●●tors. In video games, whose ●●●●●●s are ●●●●●●y ●●●●●●n in the ●●●●●● ●●●●●● ●●●●●●ar—“you,” ●●●●●● than “he” or “she” or “I”—we are ●●●●●●, if ●●●●●●l, ●●●●●●●●●●●●. Often the game’s story ●●●●●●s in ●●●●●● until we press the ●●●●●● to step off the ●●●●●●lk, light the ●●●●●●tte, ●●●●●●nly turn the key in the ●●●●●●on, or pull a ●●●●●●ng ●●●●●●r. It is one thing to watch Gus Van Sant’s 2003 “E●●●●●●t,” a ●●●●●●nal film based on the 1999 C●●●●●●ne High School ●●●●●●re; it is quite ●●●●●●r to ●●●●●●t the ●●●●●●ated shoes of that ●●●●●●ty’s ●●●●●●●●●●●●, Eric Harris and Dylan K●●●●●●, as one does in the video game Super C●●●●●●ne M●●●●●●e RPG. ●●●●●● tjtq Unlike the P●●●●●●s, who still arenât quite sure who they are, the Y●●●●●● donât need any more ●●●●●●ce â even if itâs ●●●●●● ●●●●●●, in a ●●●●●●rd, from the MLB drug ●●●●●●●●●●●●s â to know who A-Rod is and what this ●●●●●●ty of a rehab has ●●●●●● been all about. |