Resolution, from Thomas the tank engine to the Wii

Thomas that tank engine

I was thinking about how the resolution of an experience changes the experience.    Thoughts began while playing with my children.   My son loves to play with trains, small Thomas trains, small tracks you piece together and trains you push around.   For Christmas my brother asked me what my son would like and I thought that a battery powered train (see right picture) would be a hit.    It was but it also changed the way my children play with the trains.   With the battery powered train the focus became setting up the tracks in some form of circular shape and then watch them go round and round.    Play with the push trains had been much more imaginative, it was about setting up the tracks, creating narratives and pushing the trains around, speaking the narratives out loud.   Thomas the electric tank engine stopped most of that.    It was now about just watching him (the train that is) chug round and round the track, usually pulling cars, sometimes on his own.   Less creative, less social, less physical, and shorter time wise.   I was thinking how does the resolution of media and experience effect the experience of the media and play associated with it.   

It seems that like with comics if media or the experience isnt too polished, too finished, it leaves plenty of room for the human mind to fill in the gaps and engage in the experience vs. observe the experience.   This reminded me of a great interview with Brian Eno where he talked about the importance of leaving media and cultural products open and "unfinshed" (from 1995, I found the orgnial and posted it to DB).  But it also seems like engaging kinesthetically with the play transforms it — as my wife said when i asked her why the play was different with the trains you have to push she said because they "have to be the motion" not observe it.        

The Wii, is unfinished, resolution is low, characters (in sports for example) are comic like and the physical engagement in the experience manages to trick the human mind, at least mine, that the experience is pretty much "real".   Its amazing what a little bit of sound and a slight vibration in the remote does — its sophisticated enough to telling my brain that the experienceis so close to tennis or boxing that its real.  Its interesting to think about how these somewhat rough, unfinished experiences are open enough to let one become fully immersed.    Like WOW vs. Second Life.   The environment is unfinished and pretty rough — but the experience is one of total immersion.    And medieval narratives are such a dominant underpinning in our culture that the moment you engage in WOW you have a narrative to engage with.   Second Life seems more polished, and it doesn't have a narrative overlay, much of it is about events and engaging people in living a "second life".      Now its time to get back to my weekend and leave this post, well — unfinished.

  • danny

    i think it’s a question of linear vs. interactive storytelling. books are more interactive than movies and music (the viewer needs to actively conceive the story), and games are more interactive than books (the viewer can affect the ending). there’s a role for both. linear media is accessible, requires minimal engagement, and is broad and consistent enough to have global cultural impact. interactive media requires more personal investment, and though it provides a richer experience, it’s harder to generalize.

    also, educational value and entertainment value are not the same thing. heck, they’re probably not even correlated.

  • Cheap Game Consoles

    Nice post, a lot of room for thought. You're absolutely right about the “new train”, a big part of the previous play had been in moving the train, that was removed from the equation by batteries so something else had to fill the void in the experience of play. This is a great analogy to the changes technology has carved in todays society. People just fill the time with distractions because they dont have to spend the time actually living.

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