> What changes would you make to this article to show greater compassion towards the victims of violent crime?
Your comment made me curious about Brandon Dotson's crime. I can't find a lot of info for it, I haven't started delving into legal databases, but I was able to gather several sources that state Brandon Dotson was sentenced to 99 years for a Class C felony (Burglary) + a parole violation. There might not even be other people involved in the crime he was convicted for. Sentencing someone to life in prison for burglary, even with a parole violation, seems needlessly cruel.
Alabama's sentencing guidelines for a Class C felony are between 366 days and 10 years. The man served 19 years (and is now dead).
> When it comes to works of fiction, what we need to be looking at are the intents and assumptions of the in-universe fictional architects and/or typical users of the space.
I agree in the context of films, but this ignores the relationship between creator and player/user in interactive fiction like games.
Your argument is incomplete, everyone agrees differences exist, but you haven't explained how any of those differences make "Nakatomi spaces" in games somehow less legitimate than in movies like Die Hard.
If anything, you've got it backwards: The fact that each individual player must notice and choose to exploit alternate paths makes them more authentically unusual and innovative than in movies, rather than less.
> everyone agrees differences exist, but you haven't explained how any of those differences make "Nakatomi spaces" in games somehow less legitimate than in movies like Die Hard.
I meant the opposite - games have an additional layer in which "Nakatomi space" can exist. The misunderstanding seems to be my fault (oops)
> When it comes to works of fiction, what we need to be looking at are the intents and assumptions of the in-universe fictional architects and/or typical users of the space.
I failed to grasp this initially; I agree with you here - but only for films and novels where the reader/viewer/audience lacks agency. This is what OP (jl6) seemed to be driving at:
> in gaming we must look to the world of speedrunning. This is where players move through the game’s spaces in ways almost certainly not intended by the architects
Games contain not just a relationship between fictional architects and fictional entities (with fictional agency), but additionally a relationship between real developers and real players (with real, albeit constrained and often imagined, agency).
> each individual player must notice and choose to exploit alternate paths
If these paths were planned by the developers, they are akin to hallways and stairwells in a skyscraper. In the creator-player context their traversal is within the norm, excluding them from being "Nakatomi space". I agree with OP that glitches/exploits better embody this concept:
> A gamer wishing to emulate John McClane wouldn’t demolish a wall using the rocket launcher that the level designer put in a crate: they would exploit a clipping bug to glitch right through it.
