Revisit Nick Paumgarten’s 2010 Profile of Shigeru Miyamoto, “the father of modern video games.”
The game he came up with was Donkey Kong. He had in mind a scenario based on Popeye, but Nintendo was unable to secure the rights, so he invented a new set of characters. The hero, the player’s avatar, was a carpenter named Jumpman. Jumpman’s pet gorilla had kidnapped his girlfriend, Pauline, and escaped with her to the top of a construction site. The object of the game was to climb up through the girders while dodging the gorilla’s projectiles, and then vanquish the gorilla and rescue the girl.
There are generally two approaches to thinking about games: narratology and ludology. The first emphasizes story, the second play. The next time I played Super Mario, on the Wii , I found myself in a narratological mode. Mario reminded me of K. and his pursuit of the barmaid Frieda, in Kafka’s “The Castle,” and of the kind of lost-loved-one dreams that “The Castle” both mimics and instigates.
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