By Henry Jenkins
Vaudevillians used the time period "the wow climax" to consult the emotional highpoint in their acts—a ultimate second of height spectacle following a steady construction of audience's feelings. considered by means of such a lot critics as vulgar and sensationalistic, the vaudeville aesthetic was once celebrated via different writers for its energy, its liveliness, and its playfulness.
The Wow Climax follows within the direction of this extra laudatory culture, drawing out the variety of feelings in pop culture and mapping what we would name a classy of immediacy. It pulls jointly a lively diversity of labor from Henry Jenkins, one in all our such a lot astute media students, that spans diversified media (film, tv, literature, comics, games), genres (slapstick, melodrama, horror, exploitation cinema), and emotional reactions (shock, laughter, sentimentality). even if highlighting the sentimentality on the middle of the Lassie franchise, interpreting the emotional reports created via horror filmmakers like Wes Craven and David Cronenberg and avant garde artist Matthew Barney, or discussing the rising aesthetics of games, those essays get to the center of what offers pop culture its emotional impact.
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Vaudevillians used the time period "the wow climax" to consult the emotional highpoint in their acts—a ultimate second of top spectacle following a steady construction of audience's feelings. seen via so much critics as vulgar and sensationalistic, the vaudeville aesthetic was once celebrated by way of different writers for its energy, its liveliness, and its playfulness.
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Additional info for The Wow Climax: Tracing the Emotional Impact of Popular Culture
For all we know, the future art of games may look more like architecture or dance than cinema. The Future of Gaming If we are to see games accepted as a contemporary art form, game designers are going to have to stop using “market pressures” as an excuse for their lack of experimentation. True, game designers need to ship product, and that can place serious limitations on how much innovation can occur within a single game. Yet, it is worth remembering that all art occurs within an economic context.
35 Such comments reflected the performer-centered aesthetic of vaudeville and the Broadway revue. One might well understand the pleasures of game play according to performance criteria—but as we do so, we need to understand it as a pas de deux between the designer and the player. ”36 The game designer’s craft makes it possible for players to feel as if they are in control of the situation at all times, even though their game play and emotional experience are significantly sculpted by the designer.
One could argue that such responses reflect the degree of control they feel over what happens on the screen. We speak not just of controlling the characters but of “owning” the space of the game. It is even more interesting to observe the responses of people watching them play, since they also mimic the actions that are occurring on the screen, even though their actions have no consequences on the game play. Cinema has never achieved this same visceral impact, unless we are talking about the kind of fairground attractions that are designed to give us the sensation of driving down a racetrack or riding a rollercoaster.