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Play-Persona: Modeling Player Behaviour in Computer Games

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must not sacrificed <strong>in</strong> order not to occur <strong>in</strong> “the loss of the tension which is a precondition for the<br />

process<strong>in</strong>g and for the comprehension that follows it”. Real readers are cast <strong>in</strong>to roles by the text at<br />

hand but at the same time they ma<strong>in</strong>ta<strong>in</strong> their personality, this contrast is what generates<br />

<strong>in</strong>terpretation of the text<br />

The ideal reader realized all of the potential mean<strong>in</strong>gs of the text allow<strong>in</strong>g maximum coherence. “It<br />

is difficult to p<strong>in</strong>po<strong>in</strong>t precisely where [the ideal reader] is drawn from, though there is a good deal<br />

to be said for the claim that he tends to emerge from the bra<strong>in</strong> of the philologist or critic himself”.<br />

“An ideal reader is a structural impossibility as far as literary communication is concerned”. This<br />

reader has to be very close to the author’s views <strong>in</strong> order to understand the literary text <strong>in</strong> its<br />

entirety.<br />

The superreader is a fictitious collective of readers composed by the author, commentators,<br />

dictionaries, etc. that “screens for pert<strong>in</strong>ent structures and only pert<strong>in</strong>ent structures” apt at spott<strong>in</strong>g<br />

the denser segments of the text that drew most reader response.<br />

The <strong>in</strong>formed reader is someone who is a competent speaker of the language out of which the text<br />

is built up; is <strong>in</strong> full possession of “the semantic knowledge that a mature listener br<strong>in</strong>gs to his task<br />

of comprehension” and has literary competence. The <strong>in</strong>formed reader is neither an abstraction nor<br />

an actual liv<strong>in</strong>g reader, but a hybrid – a real reader who does everyth<strong>in</strong>g with<strong>in</strong> his power to make<br />

himself <strong>in</strong>formed.<br />

The <strong>in</strong>tended reader is a concept that attempts to recreate the historical audience the author was<br />

aim<strong>in</strong>g for when the work was written. The <strong>in</strong>tender reader “can embody not only the concepts and<br />

conventions of the contemporary public but also the desire of the author both to l<strong>in</strong>k up with these<br />

concepts and to work on them”.<br />

The implied reader “embodies all those predispositions necessary for a literary work to exercise its<br />

effect – predispositions laid down, not by an empirical outside reality, but by the text itself”. The<br />

implied reader is essentially a component of the structure of a text anticipat<strong>in</strong>g the presence of<br />

recipients without necessarily def<strong>in</strong><strong>in</strong>g them. The concept "designates a network of response-<br />

<strong>in</strong>vit<strong>in</strong>g structures, which impel the reader to grasp the text". Unlike every other type of reader, the<br />

implied reader has to be allowed <strong>in</strong>determ<strong>in</strong>ation. No assumptions about the reader’s particular<br />

situation, education, or cultural background must be made.<br />

Along the same l<strong>in</strong>es, there have been several attempts <strong>in</strong> try<strong>in</strong>g to “imply” players or make<br />

assumptions on the different k<strong>in</strong>ds of players that may be found engaged with a game.<br />

32

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