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The art of the pause
md5
c8a54b2161c4ea6bc3ca4757b61de780
link
https://www.rockpapershotgun.com/the-art-of-the-pause
image
https://assetsio.reedpopcdn.com/Baldur's-Gate-3-rest.jpg?width=1920&height=1920&fit=bounds&quality=80&format=jpg&auto=webp
image_imgur
https://i.imgur.com/PS4khPn.jpg
description
Hitting pause in a video game is like dropping a wall across it. On one side of the wall lies what is called the diegetic space of the game, aka the fictitious world, which is generally the aspect that receives the most interest, the aspect that tends to attract the weasel word "immersive". On the other side of the wall lie menus, settings and other features that form a non-diegetic layer of bald operator functions - technical conveniences and lists of things to tweak or customise, from graphics modes to character inventory, that are cut adrift in a vacuum outside of time.
In theory, the pause screen and its contents are not truly part of the game. There is no temporality, no sense of place, no threat, no possibility of play, no character or narrative, no save the princess, no press X to Jason or pay respects, no gather your party before travelling forth. As the scholar Madison Schmalzer points out in the paper I'm wonkily paraphrasing here, "the language of the menu itself emphasizes the menu's position as outside of gameplay by labeling the option to continue as 'resume game.' The game world is always privileged as the site that gameplay happens."
content_html
Hitting pause in a video game is like dropping a wall across it. On one side of the wall lies what is called the diegetic space of the game, aka the fictitious world, which is generally the aspect that receives the most interest, the aspect that tends to attract the weasel word "immersive". On the other side of the wall lie menus, settings and other features that form a non-diegetic layer of bald operator functions - technical conveniences and lists of things to tweak or customise, from graphics modes to character inventory, that are cut adrift in a vacuum outside of time.
In theory, the pause screen and its contents are not truly part of the game. There is no temporality, no sense of place, no threat, no possibility of play, no character or narrative, no save the princess, no press X to Jason or pay respects, no gather your party before travelling forth. As the scholar Madison Schmalzer points out in the paper I'm wonkily paraphrasing here, "the language of the menu itself emphasizes the menu's position as outside of gameplay by labeling the option to continue as 'resume game.' The game world is always privileged as the site that gameplay happens."
content_text
Hitting pause in a video game is like dropping a wall across it. On one side of the wall lies what is called the diegetic space of the game, aka the fictitious world, which is generally the aspect that receives the most interest, the aspect that tends to attract the weasel word "immersive". On the other side of the wall lie menus, settings and other features that form a non-diegetic layer of bald operator functions - technical conveniences and lists of things to tweak or customise, from graphics modes to character inventory, that are cut adrift in a vacuum outside of time. In theory, the pause screen and its contents are not truly part of the game. There is no temporality, no sense of place, no threat, no possibility of play, no character or narrative, no save the princess, no press X to Jason or pay respects, no gather your party before travelling forth. As the scholar Madison Schmalzer points out in the paper I'm wonkily paraphrasing here, "the language of the menu itself emphasizes the menu's position as outside of gameplay by labeling the option to continue as 'resume game.' The game world is always privileged as the site that gameplay happens." Read more
pub_date
11 September 2023, 3:41 pm
guid
https://www.rockpapershotgun.com/the-art-of-the-pause
creator
Edwin Evans-Thirlwell
processed
TRUE
id: 39562
uid: sOqLR
insdate: 2023-09-11 15:30:04
title: The art of the pause
additional:
category: Rock Paper Shotgun
md5: c8a54b2161c4ea6bc3ca4757b61de780
link: https://www.rockpapershotgun.com/the-art-of-the-pause
image: https://assetsio.reedpopcdn.com/Baldur's-Gate-3-rest.jpg?width=1920&height=1920&fit=bounds&quality=80&format=jpg&auto=webp
image_imgur: https://i.imgur.com/PS4khPn.jpg
description:
Hitting pause in a video game is like dropping a wall across it. On one side of the wall lies what is called the diegetic space of the game, aka the fictitious world, which is generally the aspect that receives the most interest, the aspect that tends to attract the weasel word "immersive". On the other side of the wall lie menus, settings and other features that form a non-diegetic layer of bald operator functions - technical conveniences and lists of things to tweak or customise, from graphics modes to character inventory, that are cut adrift in a vacuum outside of time.
In theory, the pause screen and its contents are not truly part of the game. There is no temporality, no sense of place, no threat, no possibility of play, no character or narrative, no save the princess, no press X to Jason or pay respects, no gather your party before travelling forth. As the scholar Madison Schmalzer points out in the paper I'm wonkily paraphrasing here, "the language of the menu itself emphasizes the menu's position as outside of gameplay by labeling the option to continue as 'resume game.' The game world is always privileged as the site that gameplay happens."
content_html:
Hitting pause in a video game is like dropping a wall across it. On one side of the wall lies what is called the diegetic space of the game, aka the fictitious world, which is generally the aspect that receives the most interest, the aspect that tends to attract the weasel word "immersive". On the other side of the wall lie menus, settings and other features that form a non-diegetic layer of bald operator functions - technical conveniences and lists of things to tweak or customise, from graphics modes to character inventory, that are cut adrift in a vacuum outside of time.
In theory, the pause screen and its contents are not truly part of the game. There is no temporality, no sense of place, no threat, no possibility of play, no character or narrative, no save the princess, no press X to Jason or pay respects, no gather your party before travelling forth. As the scholar Madison Schmalzer points out in the paper I'm wonkily paraphrasing here, "the language of the menu itself emphasizes the menu's position as outside of gameplay by labeling the option to continue as 'resume game.' The game world is always privileged as the site that gameplay happens."
content_text: Hitting pause in a video game is like dropping a wall across it. On one side of the wall lies what is called the diegetic space of the game, aka the fictitious world, which is generally the aspect that receives the most interest, the aspect that tends to attract the weasel word "immersive". On the other side of the wall lie menus, settings and other features that form a non-diegetic layer of bald operator functions - technical conveniences and lists of things to tweak or customise, from graphics modes to character inventory, that are cut adrift in a vacuum outside of time. In theory, the pause screen and its contents are not truly part of the game. There is no temporality, no sense of place, no threat, no possibility of play, no character or narrative, no save the princess, no press X to Jason or pay respects, no gather your party before travelling forth. As the scholar Madison Schmalzer points out in the paper I'm wonkily paraphrasing here, "the language of the menu itself emphasizes the menu's position as outside of gameplay by labeling the option to continue as 'resume game.' The game world is always privileged as the site that gameplay happens." Read more
pub_date: 11 September 2023, 3:41 pm
guid: https://www.rockpapershotgun.com/the-art-of-the-pause
creator: Edwin Evans-Thirlwell
related_games:
processed: TRUE