tag:blogger.com,1999:blog-69713604825938351212024-01-18T07:29:22.920-08:00Design on the RunMusings on Game Design, Games, and other important nonsense.Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.comBlogger56125tag:blogger.com,1999:blog-6971360482593835121.post-42208981712369183152016-08-13T09:23:00.002-07:002016-08-13T09:23:47.710-07:00On AcademicsI've been messing around on Academia.edu.<br />
<div>
<br />
For those that are unaware, it is a repository for academics to interact with each other, post papers, and generally serve as a virtual nexus for academic thought on nearly every academic subject imaginable.</div>
<div>
<br /></div>
<div>
How cool is that?</div>
<div>
<br /></div>
<div>
Thus far, I've posted several papers out there that I've written and gotten some positive feedback on my work.<br />
<br />
I'm working on cleaning up more of my stuff, getting it out there.<br />
<br />
I wonder if the social psych aspects of my paper is good enough for PCA/ACA...</div>
Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-51622848339856793472016-05-13T07:42:00.002-07:002016-05-13T07:42:18.576-07:00On Firefly/SerenitySo, I was one of the many who came to the <a href="http://www.bing.com/search?q=Firefly+imdb&src=IE-TopResult&FORM=IETR02&conversationid=">Firefly</a>/<a href="http://www.imdb.com/title/tt0379786/">Serenity</a> party late.<br />
<br />
It came and went when I was working on my associate's degree. To save money, my roommate and I paid for cable internet but no TV.<br />
<br />
We were cable cutters before it became a thing.<br />
<br />
As a result, I was introduced to the property much much much later.<br />
<br />
The film "Serenity" was my introduction, it was my pilot, and I really enjoyed the movie. It was an origin story for the 'Verse and if viewed through that lens, it was a fairly tight one. The characters arc, the story progresses, the world changes, and the heroes move on. We get shown the origin not just of how folks got out onto the frontier, but we got to be exposed to the culture without exposition dumps, get a more humane understanding of the inhumane Federation, and the origin of the Reavers is established as a core aspect of the story and not hanging over the heads of the characters like a boogeyman that requires an exposition dump to understand. The movie does an effective job os establishing the universe as one long, engaging exposition dump.<br />
<br />
Which brings us to "Firefly".<br />
<br />
Look, I get it, it was shown out of order. When I purchased the DVD pack on Amazon in 2006, I found out the correct order to watch the series. So, I popped in the DVDs and watched them in the proper order.<br />
<br />
The pilot was <i>bad</i>.<br />
<br />
Now, I long had a problem with the high concept of the series. The thin veneer of Post-Civil War US means that Mal and Zoe are Confederates and that was something I never sat well with me. And add to that the fact that the rest of the 'Verse production design pulls in two directions - we want it spacey and futuristic but everyone talks like they just finished working on the Trans-Continental Railroad. But that wasn't the problem with the pilot - the pilot was just boring.<br />
<br />
The pilot had a few moments, but it was not good as a television show. Not at all. It was dull, and I think that comes from the scope that Whedon had planned for the entire series. The pilot was written to payoff several episodes or seasons down the road. As a result, there was not a whole lot for folks who may not be SciFi fans to glom onto - particularly when it comes to any sort of action. I can totally understand why Fox reorganized things. The first two-parter was <i>boring </i>with no payoff during the episode to hook the audience...well...beyond it being a Joss production.<br />
<br />
The pilot clearly hooks into a larger series and doesn't establish itself as a self-contained story. As a point of comparison, I'm going to look at three other series, one a SciFi two-part pilot and one single episode pilot, that went on to anchor larger stories as well as fit the same sort of story format Whedon appears to have been gunning for:<br />
<a href="http://www.imdb.com/title/tt0314979/?ref_=nv_sr_3"><br /></a>
<strong><a href="http://www.imdb.com/title/tt0314979/?ref_=nv_sr_3">Battlestar Galactica Miniseries</a> (2003)</strong><br />
This might not be a fair comparison, due to the length of the BSG Miniseries (4 hours), but bear with me.<br />
<br />
This was a self-contained miniseries. It told an entire story. Characters arc. The story hits all of the beats. It did not require any additional episodes for any of the content contained within the four hours to "get it". Even if you never watched the four seasons, the story told was the basic premise of the original series - Galactica escapes to find Earth. While there are hooks to future episodes, they aren't required for the arc of the miniseries to be complete.<br />
<br />
The first part is is a kick in the pants within the opening minutes - new Cylon Centurians, Capirca 6, new Basestars, and a huge explosion. Moore and the rest of the showrunners knew there would be tension going into the series, so they capitalized on it.<br />
<br />
More than that, it is FILLED with conflict. Not just combat, it has that in spades between the ambush of Galactica's fighters to the fight outside of Ragnar Anchorage, but is has tons of character conflict. Adama and Lee, Lee and Kara, Kara and Tigh, Boomer and Chief sneaking around while Agathon covers for her, a reluctant President and a potentially mad scientist who sold out his entire species.<br />
<br />
By comparison, the Firefly pilot was not self-contained. Nothing is settled in the pair of episodes. It works so hard to set the stage that it doesn't do much to keep the audience in their seats. The lack of conflict both literal or character-driven led to a flat showing because too much was focused on prepping for a larger story which sacrificed the "now". Whedon admits that he wanted to illustrate the bonds of family and that the crew was a family. In the TV series, it was a very stable family. Compare it to the film "Serenity" and you begin to see where I'm coming from.<br />
<br />
The film "Serenity" had loads more conflict - whether it was the escape of the Tams, River going off twice, dealing with the Alliance Fleet and the Reavers. There was greater conflict between Jayne and Mal, Mal and himself, Mal and River, Mal and the crew that was absolutely missing in the television version. The crew was dysfunctional, and the conflict kept things moving.<br />
<br />
The reason is obvious: in both cases, the creators had to craft their world to a broad audience to ensure that the investment of funds would have a return without the guarantee that there would ever be another time to tell that story as it is. So, the writers and creators had to wrap it up within its own context - they were constrained to tell a good story to people that might have zero involvement in the original content (the old BSG series or the Firefly series). In the case of Firefly, the film forced Whedon to write an interesting story with the constraint of NOT being able to serialize it, and he did it well.<br />
<br />
The same sort of thing can be seen in Whedon's <a href="http://www.imdb.com/title/tt1135300/?ref_=fn_al_tt_1">Dollhouse</a> - the entire first season was ambitious. It was written with a total of 5 seasons in mind. 5! Whedon falls into the usual trope of creative people that can be seen - without constraints, the production gets muddled and the message lost. Creative work thrives on <a href="http://scottbarrykaufman.com/article/does-creativity-require-constraints/">constraints</a>, it forces the creator to focus and get to the essential elements of the creation without distraction. Working under severe constraints can be rewarding, but it is difficult, and even worse, can be seen by real creatives as limitations rather than benefits. Whedon's best works were done when there was little pressure (Buffy) creatively but constraints with budget demanded creativity, or when greater constraints were placed on his conceptual work due to market concerns or realities on the product being delivered (The Avengers, Serenity).<br />
<br />
This can be illustrated best by Joss who said "you have to be the general and the scout - in other words, that you have to keep an eye on the big picture and the reason you're telling the story, but also keep an eye on the small obstacles and figure out a way around them," Too often he sets his eyes several years down the road, focusing too much on the big picture.<br />
<br />
The one, pervading theme that I find though when it comes to Whedon and his works is his - at times - complete inability to see the common theme in all of his failings: himself. He's very good at passing the buck when things go wrong, but is quick to absorb the praise when things go right.<br />
<br />
If an artist is oblivious to his own failings, then he can't and won't grow as an artist. Growth, change, that is how the craft gets perfected in an artist, and Joss certainly is one. Criticism and self-review, being able to say "Yes, I made this, and yes, it wasn't very good" is critical to the creative life of an artist. Comments are a blessing, but only if you leverage them to improve.<br />
<br />Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-63486557154871143852016-05-12T19:49:00.001-07:002016-05-12T19:49:46.428-07:00On SummerI'm not a fan of summer.<br />
<br />
Since leaving Delaware at the ripe age of 10, summers have meant oppressive texas heat and lawn work in said heat.<br />
<br />
And some 25 years later, summer still means oppressive texas heat and lawn work in said heat.<br />
<br />
During the summer, I've had to focus a great deal of time on family things. As a full time grad student, with a wife working full time, it means I spend an inordinate amount of time running kids to and from camps.<br />
<br />
It also means that I don't get to do a lot of things I love to do in terms of my schooling. I have to engineer time into my schedule to do things like read, analyze games, and things of that sort.<br />
<br />
What I have done is gotten myself invited to two separate academic conferences.<br />
<br />The first - GLS 12 - is in Wisconsin in the middle of August, so it should be downright pleasant.<br />
<br />
The second - Videogame Cultures - is in Oxford, England at the beginning of September. This is extremely exciting and I'll get into it more when I have more than two brain cells to rub together.<br />
<br />
You see, I've completed my <a href="http://www.utdallas.edu/atec/artstechnology/">Masters in Arts and Technology</a> at the <a href="http://www.utdallas.edu/">University of Texas at Dallas</a>.<br />
<br />
The day has been spent at graduation, walking the stage, doing all of that, while coming down with a tremendous head cold.<br />
<br />
I feel awful.<br />
<br />And I'm out of bourbon, which is supposed to be great for colds.<br />
<br />
I need to go to CostCo tomorrow and get bourbon...Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-24962537317477455662015-12-03T17:49:00.000-08:002016-05-12T19:54:34.041-07:00On The End of a SemesterWell, the winter break and associated holidays are upon us all.<br />
<br />
This will be my last spring semester working on my Masters with the goal of moving on into the Ph.D. program in Arts and Technology at the University of Texas-Dallas.<br />
<br />
The idea of going elsewhere appeals to me, but that is more from a traditional background. In the humanities, going to another school for one's masters, then another for their Ph.D. is the usual progression. Game Studies, on the other hand, is often looped into other schools - so, normally those going into the studies are coming from a more relevant school. Often, one has done their undergraduate work in their bachelor's that relate directly to their Masters.<br />
<br />
I'm in a curious position.<br />
<br />
My undergraduate work was back in the 1990s and isn't really relevant to what I am doing now. Back then, I was going to be an attorney. Over a decade later of being deep in game design and development, a history degree isn't worth much beyond affording me the chance to earn a Masters degree.<br />
<br />
So, I'm finishing my Masters and finding that, getting a Ph.D in something like Game Studies often requires glomming into something else like Media Studies.<br />
<br />
I want to focus specifically on Game Studies.<br />
<br />
So, I'm looking around, but in all likelihood, I'll be remaining here for the next few years - at the very least - as I dive headfirst into a Ph.D at UTD<br />
<br />
Cheers!Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-51498210906889406082015-11-27T20:09:00.002-08:002015-11-27T20:09:50.584-08:00On WritingI really need to write more often.<br />
<br />
Which is an odd thing to say as a grad student. I'm finishing out what should be the last fall semester of my Masters Degree and the last fall before I begin my PhD. I'm working on a class where I'm putting together an article to submit to a conference (which will need cleaning up, assuredly), I'm about to start working on my final paper for my Cognitive Ethnography Class, and I need to do some work on my final Interactive Narrative Class.<br />
<br />
And I need to write more often.<br />
<br />
It is definitely an odd thing to say.<br />
<br />
Part of me wants to throw out some of the screen play I was working on for class. The characters involved mean a lot to me, even if I cannot claim supreme authorship, and they remind me of better times creatively.<br />
<br />
I'll need to think about that a bit more before I commit to it.Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-22273884083569731792015-05-13T10:43:00.004-07:002015-05-13T10:43:46.886-07:00On KerbalFor my game studies class this past semester, I spent a lot of time with <b>Kerbal Space Program</b>.<br />
<br />
I really enjoyed this game from a very early time, though, I'll be the first to admit that rocket science is something that I actually know very little about. In fact, I know so little that I'd never been able to get a satellite into orbit.<br />
<br />
See, I played the game VERY early on. I love the idea of a serious game teaching a difficult subject in an engaging and fun environment. <b>Kerbal</b> is the definition of a serious game to teach a complex subject along the lines of James Paul Gee and his work.<br />
<br />
Kids are able to put something together in an engaging way, communicate with other players, and put it all together to move forward.<br />
<br />
The trick here is convincing parents and educators that games can be a way to teach children. Slowly, but surely, this is happening.<br />
<br />
I recently looked at some of the curricula implemented for Common Core in New York via Eureka Math (<a href="http://greatminds.net/maps/math/grade-k/module-1/topic-a/lesson-1">sample here</a>). I investigated based on some discussion surrounding the wisdom of instructing kids in Kindergarten, and if doing so was "too early". In looking at the lessons, the goal is the kids learning, certainly, but each of the lessons are actually games.<br />
<br />
A bit of deconstruction here: parents questioning the wisdom of Eureka Math often assume that "learning" and "lessons" involve the very conventional, post-industrial age education. We all know this stereotype: rows of desks, kids sitting, quiet, heads down, scribbling answers on papers for grades, listening to instructions by the teacher.<br />
<br />
Eureka is <i>gamifying</i> mathematics for kindergarteners. The kids don't sit at a desk and memorize facts and figures and recite them back to the teacher. They play with beans and gloves, interactively manipulating tokens and the learning environment to build useful facts within the context of play.<br />
<br />
How awesome is that?Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-39209730126421235122015-04-19T11:32:00.003-07:002015-04-19T11:32:44.361-07:00On Critics<span style="font-family: Arial, Helvetica, sans-serif;">Well, another day, another complete misunderstanding as to the role of a critic within the cultural context.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">As usual, this spins from Anita Sarkeesian. In this case, from her inclusion on the <a href="http://time.com/collection/2015-time-100/">Time 100 Most Influential list</a>.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Most of the comments I've read in my circles are either the trite (polite rehashing of GamerGate comments) to the other usual comment that artists make of critics - because she doesn't make games she cannot possibly be informed enough on the process to provide a complete and intelligent criticism of games.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">This sort of commentary completely misses the point of a critic in the relationship with an artist. Critics are informed, they are studied, and most of all, they represent a specific voice as representatives of good taste in a broader cultural context. A good critic will do more than simply point out shortcomings either in form, style or taste. A good critic will also point out when something works and representing a shift in form, style or taste. More to the point, critics represent good taste talking back to the artist so that the artist can improve their craft. This analysis of play aesthetic is key because it represents a voice separate from fandom, a dispassionate voice who provides feedback so the artists can grow and create better works of art.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Is it good form when developers ignore player feedback? No. Why? Because the players represent the audience in play. I've lost count the number of times I've been told by developers far more learned than I that audience feedback is essential for tuning and balancing play.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Yet here is a critic pointing out feedback and is met with polite be firm denial.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">This reminds me of the <a href="http://www.cs.northwestern.edu/~hunicke/MDA.pdf">MDA method of game analysis</a>.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">For those that aren't familiar, it is a method of analysis used to analyze games.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">MDA stands for Mechanics -> Dynamics -> Aesthetics.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">When a developer creates a game, they create the mechanics, tune the dynamics of play, and create a specific emotional response or aesthetic. They experience this sequence from left to right.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Players and critics experience the sequence in reverse order. When a critic plays the game, they engage the emotional response to play, react to the dynamics and perhaps delve into the mechanics that create those dynamics.<br /><br />When Anita and other critics engage with games,they experience a specific emotional response to the content provided to them. The critics response is based on whatever cultural perspective that they bring to the game. This is no different than any other player.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">What this means is that a critic does not need, rather, they are addressing the aesthetics of play as they interpret it and respond accordingly based on the current standards of taste.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">So, what does Anita do? She responds to the aesthetics of play from her cultural perspective as it pertains to current standards of taste.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Why does that bother people? Because it challenges several deeply ingrained cultural stereotypes of who consumes games. It is also much easier to attack Anita than it is to put together a coherent response. But this all side-steps the fundamental truth that the artist and the critic are a relationship that is required for growth of games as a true <i>art</i> form. If games are to be taken seriously as an artistic form, it means that games must conform to matters of taste. In that regard, the critic is essential. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The critic is the curator of taste within our culture. </span><span style="font-family: Arial, Helvetica, sans-serif;">The critic is to point out when a creator does something well or when the creator does something poorly, and inform the broader audience of these points.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">It's time for the game industry and its fans to grow up. As long as I've been a developer, game developers and creators were sounding the clarion call that games are art. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Now that they are recognized as such, these same developers and creators are upset when critics point out the deficiencies of games as they reflect larger cultural deficiencies when it comes to gender.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Take from that what you will...</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<br />Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-67067026333008686602015-03-19T10:55:00.000-07:002016-05-12T19:54:22.267-07:00On PainI've been estranged from by Father for 5 years now, give or take a few months.<br />
<br />
I decided to break contact for a variety of reasons. These boiled down to the influence of my step-mother on my father. My father felt that he had to make a choice between her and her family or his sons. This is a false dychotomy, because he ignored his responsibility to build a bridge and make sure that the two families came together.<br />
<br />
Instead, he chose to drive the wedge in deeper by choosing her and her family.<br />
<br />
My brother stopped speaking to my Father before I, as he and his husband received very insulting treatment from our step-mother. I believe they stopped communicating 6 years ago, or a year longer than I had.<br />
<br />
My step-mother has since died. My Father has an apartment somewhere in the Austin/Round Rock area, and that's that. My step-mother absorbed most of my father's assets in exchange for my father's healthcare and living situation settled until his death. As expected, my Father's adopted family don't really seem to care much about him and, as far as I can tell, don't communicate with him at all.<br />
<br />
This revelation I'm sure came as a surprise to my Father, but was of no surprise to my brother or I.<br />
<br />
My father embodies the modern, american conservative ideal of "I have mine, fuck you and get yours".<br />
<br />
He expects my brother and I to want to maintain a connection with him, despite the emotional abuse leveled against us by him and our step-mother through the years.<br />
<br />
I'm told I should reconcile. But for whom am I reconciling? I have a dad, my step-father.<br />
<br />
A Father results from sexual congress between a man and a woman and the successful implantation of a fertilized egg in her uterus.<br />
<br />
A Dad results from being a parent. A parent means consoling injuries when the bactine stings. A parent means encouragement when it seems dark and bleak. Being a parent means proud smiles and laughter when things go great. It means hugs and kisses, every day. It means back rubs every night. It means putting your own desires aside and playing with them, loving them, and being a part of their life, being a mentor for life.<br />
<br />
That is my step-father. He is my Dad.<br />
<br />
My Father stopped being my Dad two decades ago. He was often rude to my wife, stooping so low as to make snide remarks about incidental housecleaning while she made him lunch and she was 8 months pregnant. He was rude to my friends when he'd visit me in college. He showed as little desire to be a part of his Grandchildren's life as he did mine. When asked when they could visit, he and my step-mother would claim poverty, yet we'd be told stories of their numerous cruises around the Pacific or Caribbean.<br />
<br />
We're often told to forgive and forget.<br />
<br />
When it comes to by Father, I'm not sure I can do either. I don't think that he deserves forgiveness, and I cannot forget and appreciate the repercussions these choices had upon his children.Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-8161866649296657182015-03-06T07:28:00.000-08:002015-03-06T07:28:58.262-08:00On SpockI'm a bit behind. So, here we go...<br /><br />Farewell, Ambassador.<br />
<div>
<br /></div>
<div>
So, I'd like to write a bit about the passing of a Science Fiction icon, as Leonard Nimoy has passed. I have a long time love affair with Star Trek. The universe of Star Trek is hopeful, even in the face of horror and the unknown, filled with optimism that seems to be lacking in Fiction generally and Science Fiction specifically.<br />
<br />
And then there was Spock.<br />
<br />
Leonard was iconic as Spock, not just because of the character, but because he did more than simply read off the page. He committed himself, his personal outlook and his philosophies - secular and religious - to the character. For a man who, at one point, defiantly proclaimed "I am not Spock", the amount of his own persona and life he poured into the character defied separation.<br />
<br />
Spock, for me, was more than simply a great character in which an actor poured himself into with grace and skill. He was an alien who was, at once, more human than the humans with which he shared screen time.<br />
<br />
I was deeply moved on learning of his death. I grew up with Trek and Spock, and while the rational part of me always knew that this would happen (illogical to think otherwise?), there is still the understanding that a deeply important part of my personal, cultural makeup is physically gone. <br /><br />And, in that way, his performance and the world he helped create will always have an effect on me.<br />
<br />
Live long and Prosper, Ambassador. </div>
Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-25533672661044691222015-02-18T05:32:00.002-08:002015-02-18T05:32:38.965-08:00On PetitionsFor the uninformed, <a href="http://www.donotlink.com/dql7">a petition was started</a> in the wake of the recent "Gamer" Law and Order SVU. <br />
<br />
I recommend reading it if you want a good laugh.<br />
<br />
This petition places the blame for the episode on the likes of Polygon and Kotaku.<br />
<br />
Now, for those that haven't seen the episode: yes, it's bad. It's as uninformed as you'd expect from a 45 minute TV show trying to cram in some pretty reprehensible things. The arc of the show was limited and the whole thing basically took things to a ridiculous extreme (though, if the threats to Breanna Wu are any indication...).<br />
<br />
But what the petition fails to really grasp is the concept of yellow journalism. To borrow Frank Luther Mott, a historian and journalist, defined yellow journalism in 1941 as:<br />
<ol>
<li>scare headlines in huge print, often of minor news</li>
<li>lavish use of pictures, or imaginary drawings</li>
<li>use of faked interviews, misleading headlines, pseudoscience, and a parade of false learning from so-called experts</li>
<li>emphasis on full-color Sunday supplements, usually with comic strips</li>
<li>dramatic sympathy with the "underdog" against the system.</li>
</ol>
To call Kotaku or Polygon's coverage as "Yellow Journalism" is to create a pretty fuzzy distinction between two things that actually have some pretty strong distinctions. You could, maybe, present the case for number 1, and number 4 doesn't apply, but from their coverage, Kotaku and Polygon have not delved into 2 or 3 unless you take the "GG" crowd at their word, which given their behavior, would be an exceptionally stupid thing to do.<br />
<br />
To quote Inigo Montoya: "You keep using this word, I do not think it means what you think it means."<br />
<br />
Shooting the messenger is the easy way out. It allows the receiver to ignore the repercussions of the events which effect them. It is no different than a child throwing a tantrum, standing with their fingers in their ears and yelling.<br />
<br />
If games and game culture are to be taken seriously in the larger mass media culture, then being able to address the foibles of the culture are a requirement.<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-4604520457776993092015-02-17T12:43:00.000-08:002015-02-17T12:43:23.601-08:00More on Games and CultureThis discussion was spawned from an indepth conversation on facebook amongst game developers about the role of game culture within the larger mass media culture. This discussion was centered around the response of some self-identified "gamers" who respond negatively to increased scrutiny on cultural matters within the context of games. More specifically, the identified "GamerGaters" who saw cultural critique of sexism as an intrusion into the subculture that is gaming.<br />
<br />
Now, I don't want to get into a debate about GamerGate. That isn't the purpose of the discussion.<br />
<br />
What I got to thinking about is the responsibility of the culture creators to moderate or curate the culture in which they are creating. We see this sort of behavior in other creative endeavors such as art, film, literature and music. Curators sift through the creations and judge, based on the merits of taste and aesthetics, which pieces are worth exhibiting, worth studying, and worth leaving their imprint on that specific creative culture. If you're in Dallas, you can go down to the Nasher Sculpture Center or the DMA and view relevant art that has been selected for exhibition for its relevant qualities. The curators have been trained, studying art history and aesthetics, to choose the best pieces to represent not just the institution that is exhibiting them, but to exhibit the specific movement that the piece is a part of. The result is a unified message of the specific subculture to which the artifact represents and belongs.<br />
<br />
Right now, as Games begin reaching a higher cultural relevance, they are no longer viewed as creative play things but artistic creations of their own. What has happened over the last twenty years is that the artists of the game industry have created their artifacts but have done so without a curator. The result is a cultural black hole. This is starting to change, as more academics begin focusing on games as part of the larger mass media culture and generating new criteria for analysis based on existing standards and criteria, but this has caused a great deal of friction.<br />
<br />
The resulting criteria is the result of an inherent dichotomy that has existed among Gamers. For as long as video games have been unleashed on the market, its creators and enthusiasts have sought legitimacy from the larger culture. An example of this sort of struggle was evident in the statements by Roger Ebert where after doubling down on the statement that games cannot be art eventually agreed that it is possible that they can be art after <a href="http://www.rogerebert.com/rogers-journal/okay-kids-play-on-my-lawn">passionate defenses by gamers</a> from across the world. Even in the early days of computer games, pre-NES, there were artistic titles that deviated from the norm. Games like <i><a href="http://en.wikipedia.org/wiki/Below_the_Root_%28video_game%29">Below the Root</a></i> eschewed game conventions of the day to better adapt to the source material from which the narrative was drawn. This meant that, in "Below the Root", violence as a method of conflict resolution was practically nil, and player death is identical to the more recent <i>Shadow of Mordor</i> and most modern games where you simply regenerate in your home while losing "game time". This in an age when game developers were just stepping beyond the arcade-style game with games like <i>Choplifter</i>, <i>Ultima</i>, <i>Lode Runner</i> and <i>Karateka</i>. Thirty years after the rise of computer games, the topic of computer games as art finally reached one of the preeminent pop-culture critics in the United States. Games had arrived as an art form within the larger pop / mass media culture, and Gamers were proud,<br />
<br />
What they didn't appreciate is that, once accepted as an art form, it would place their beloved games under heightened scrutiny by the guardians of aesthetics within the media culture. The black hole of critique in which games were surveyed and critiqued strictly against other games collapsed, replaced by the bright light of the broader culture. This bright light revealed an ugly side to game culture, the black eye that developers and publishers relished as long as it lined their bank accounts. I'm not going to run down all of the really horrible things that the increased scrutiny has revealed about the game industry; I lack the time to do so, but it is clear that it is an embarrassment.<br />
<br />What this light has done, though, has increased the friction within the game culture. As games have become more popular, and the types of games and game players have become more diverse, the game culture as a whole has lagged behind severely. As aesthetic critiques have increased in specificity and volume, catering to this larger audience base and the legitimacy of games as an art form within the larger media culture, the backlash has increased in vitriol. The legitimacy sought by gamers for so long has brought about something that they never considered: careful and legitimate analysis revealing some pretty reprehensible content when compared to the accepted cultural norm.<br />
<br />
The larger point that I'm driving at is that, once an art form is accepted as part of the larger artistic culture, it is subject to the rules of critique. That means that the critical eye may reveal some pretty disturbing information to those that love the art form. And that's alright. The point of the critic isn't for the fan, necessarily, but the artist. The critic exists to review the artwork within the context of a specific aesthetic to provide directed feedback to the creator, so that the creator can potentially improve their craft for their next artifact.<br />
<br />
Being a critic is difficult, and requires a lot of study and, in the case of games, being more than "a fan" or a "gamer". The critiques provided by such critics will be shallow - they experience the games as they are meant to be experienced and that's that. Most reviews will explain the game on a very superficial level and leave it at that. Professional reviewers will explain the game at the same level, but provide a very different critique that typically is driven at determining if the consumer will receive value for their money. A professional critic will ask very difficult questions about the content presented in the game that goes beyond the superficial content or monetary value determination. They will ask things like: What does this game say about the larger culture? Why does this mechanic exist and how does it relate to the larger narrative context? What does the developers choice of narrative structure say about the culture in which it was created? Does the setting evoke a larger sociological analysis about the culture at large? What about the gender politics of the game?<br />
<br />
Some gamers don't want that. They want their artistic medium but without the criticism. This is a flawed request - legitimacy requires study and study may reveal uncomfortable truths about the subculture of gaming. It may also reveal some fantastic things that should be celebrated as well, but expecting legitimacy without study is a fools errand.<br />
<br />
And it simply isn't possible to de-legitimatize games as an art form. The genie has left the bottle, and the analysis is going to come and the critics will pass their judgement. Games <i>will</i> change as a result, because that is the nature of the critic/creator relationship. Because creating a game that specifically defies the larger culture and its accepted norms is making a statement that is to be critiqued and presented back to the creator.<br />
<br />Games are art. So, get ready, because games will only be a better place for it.Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-39948754483682374022015-02-16T13:46:00.000-08:002015-02-16T13:46:23.924-08:00Games and CultureSo I just finished writing not one but two papers for my Game Studies class.<br />
<br />
Woof.<br />
<br />
Since the start of semester, a month and a half ago, I've written 4 out of 5 required papers. Each paper covered what is hoped to be a specific angle of study in games, while one used a book and another used a game as their inspirations.<br />
<br />
The course requires 5 minor papers, 2 covering required games in the course, 2 covering required texts, and a third that is derived either from a game or from a book that we cover in class.<br />
<br />
I'm front loading because there is a 10 page paper due by the end of class.<br />
<br />
And my other classes are writing intensive, which I hope to use in either helping craft better papers and help craft better teaching experiences for my students.<br />
<br />
Thus far, all I can say is that my reading list is growing by the day and that I find my interests spreading out far too fast. Though, I think I'd like to delve more critically into the formation and intentional ignorance of the culture surrounding games by the industry.<br />
<br />
Booyah<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-51947294634722019492015-02-10T20:50:00.003-08:002015-02-10T20:50:54.855-08:00Class DaysAs a matter of course, don't expect many posts from me early to mid-week. I have classes those days, and am either focusing on readings, writing papers, or performing research.<br />
<br />
Until Thursday...Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-42923222399044077782015-02-09T10:12:00.000-08:002015-02-09T10:12:14.446-08:00Spirituality and Games<br />
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;">This is a repost and revision, based on a discussion I had with a fellow classmate. It seemed relevant, and rather than it getting lost within my Gamasutra space, I decided to port it over here. As I'm delving deeper into game studies, I also figured that I'd do a bit of leg work and revise it over with some links to some game scholars as well.</span></div>
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;"><br /></span></div>
<br />
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;">Because this goes beyond the normal video game realm, particularly into the realm of television/video, I'll be citing relevant points through analysis of additional media beyond video games. This is due to a lack of availability of content - I'm a console developer, primarily, and there is a notable dearth of religious console titles which makes completely analysis of a specific section of media, in this case, video games, difficult at best. I'm also going to be focusing on Christian-faith based games. This isn't due to laziness, rather, the problems that are illustrated in religious-based games aren't unique to any one faith and that Christian-based games are far easier for me to come by over Islamist, Hindu, etc. based game.</span><span style="background-color: white; font-family: inherit; line-height: 18px;"> </span></div>
<div style="text-align: justify;">
<span style="background-color: white; text-align: start;"></span></div>
<br />
<div style="text-align: justify;">
<span style="background-color: white;"><br /><span style="font-family: inherit;"><span style="line-height: 18px;">I'm afraid much of this is anecdotal, as I have not worked for an explicitly religious game company of any faith. I'm a Unitarian Universalist, so, I like to consider myself a student of many religions. That said, much of my experience with faith comes from playing games with family members that are exceedingly religious. In none of the games I've ever played was faith or spirituality explicitly thematic or a driving force within the game world itself. It is </span></span><span style="line-height: 18px;">exceedingly</span><span style="font-family: inherit;"><span style="line-height: 18px;"> simple to see why explicitly spiritual games are not more numerous within the broader game market:</span></span></span></div>
<div style="text-align: justify;">
<ol>
<li><span style="line-height: 18px;">Spirituality is hard to define.</span></li>
<li><span style="line-height: 18px;">Spiritual is often conflated with religious, and religious games are painfully didactic.</span></li>
<li><span style="line-height: 18px;">Gameplay is more engaging when it is emergent; because of the focus on message, strategies are limited to fall within the confines of the specific spiritual goal</span></li>
</ol>
</div>
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;">Spirituality has many definitions, and much like religious faith, is often a personal definition which is hard to qualify. Wikipedia summarizes "Spirituality" thusly:</span></div>
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;"> </span></div>
<i>"...a process of personal transformation, either in accordance with traditional religious ideals, or, increasingly, oriented on subjective experience and psychological growth independently of any specific religious context. In a more general sense, it may refer to almost any kind of meaningful activity or blissful experience."</i><div style="text-align: justify;">
<ul>
<li><span style="line-height: 18px;">"Spirituality." <i>Wikipedia, The Free Encyclopedia.</i> Wikimedia Foundation, Inc. 9 February, 2015. Web. </span><span style="line-height: 18px;">9 February, 2015.</span></li>
</ul>
</div>
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;">What is interesting about this definition is how Wikipedia goes on to define meaningful. Wikipedia takes meaningful to be within the context of the philosophical debate about the meaning of life, by using this definition:</span></div>
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;"><br /></span></div>
<div>
<i>"The meaning of life is a philosophical and spiritual question concerning the significance of life or existence in general. It can also be expressed in different forms, such as "Why are we here?", "What is life all about?", and "What is the purpose of existence?" or even "Does life exist at all?" It has been the subject of much philosophical, scientific, and theological speculation throughout history. There have been a large number of proposed answers to these questions from many different cultural and ideological backgrounds."</i><span style="background-color: white; font-family: inherit; line-height: 18px;"> </span></div>
<br />
<ul style="text-align: justify;">
<li><span style="line-height: 18px;">"Meaning of Life." <i>Wikipedia, The Free Encyclopedia.</i> Wikimedia Foundation, Inc. 7 February, 2015. Web. </span><span style="line-height: 18px;">9 February, 2015.</span></li>
</ul>
<div style="text-align: justify;">
</div>
<br />
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;"><br /></span></div>
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;">This goes beyond the definition used by academics like Jane McGonigal when they describe meaningful. In game studies, meaningful is placed within the context of games and the role of games in effecting change, education, or desired emotional context. Meaning, in the context of games, is that the gameplay or interactivity has an explicit intent to inspire a specific line of thinking or evoke a specific emotional aesthetic from the player. So a game that is focused on spirituality has the specific intent (or meaning) to evoke a religious or pseudo-religious experience from the player.</span></div>
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;"><br /></span></div>
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;">The problem there is easy to identify: what one person may find meaningful within the context of their religious tradition may not evoke a meaningful response to those that are not of that tradition. Creating a game in which one travels to Judea and listens to the Sermon on the Mount may be a meaningful event to those in the Christian traditions, but to a Hindu or Ba'hai, it may mean nothing. That isn't to say that it isn't possible to create games that target specific meanings, and these meanings can be explicitly spiritual, but then we run into the muddy definition of what it means to be spiritual.</span></div>
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;"><br /></span></div>
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;">Once a specific definition of spirituality is embraced, limitations are placed on the tone, content and meaning of the interactive experiences. There have been widely released games that have taken a very specific spiritual context and applied it to the tone of the game. The most famous christian game of late that received both wide release, thanks to being carried by WalMart, and wide critical press would be </span><a href="http://www.metacritic.com/games/platforms/pc/leftbehindeternalforces" style="background-color: white; border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #22522a; font-family: inherit; line-height: 18px; margin: 0px; padding: 0px;" target="_blank">Left Behind: Eternal Forces</a> and its sequels.<span style="background-color: white;"><span style="font-family: inherit;"><span style="line-height: 18px;"> The game, as evidenced by the Metacritic score, was very poorly received by the gaming community. Going through the reviews, even the best reviews provided via Metacritic indicate that the gameplay experience was, over all, poor. The story didn't get much better reviews, but, given that the gaming press is largely secular, this isn't much of a surprise. Because the game itself is focused on recreating a world and universe centered around a specific, christian, interpretation of the "End of Days", the game - at its core - must hold onto this premise and its meaning in its narrative. This adherence to a very specific Christian interpretation takes precedence over the development of core gameplay mechanics, resulting in a didactic game unless you accept the specific meaning of </span></span><span style="line-height: 18px;">spirituality advanced by the developers.</span><span style="font-family: inherit;"><span style="line-height: 18px;"> </span></span></span></div>
<div style="text-align: justify;">
<span style="background-color: white; font-family: inherit; line-height: 18px;"> </span></div>
<span style="background-color: white;"><div style="text-align: justify;">
<span style="font-family: inherit;"><span style="line-height: 18px;">But even with a specific meaning applied to the mechanics, narrative and tone of the game, where spirituality is defined clearly within a specific context, the audience for these games don't necessarily care that the game is fun as long as the spirituality-based message is prominent. Games developed with this mindsent eschew emergent gameplay at its core and instead reply upon more traditional and far more limited progression-based gameplay. (see Jesper Juul's </span></span><i style="font-family: inherit; line-height: 18px;">Half-Real </i><span style="font-family: inherit;"><span style="line-height: 18px;">p.73-91). If the player does not perform the correct events in the correct series, their progression through the game is stopped. The adherence of the communication of the message takes priority over everything, including the use of emergent gameplay to </span></span><span style="line-height: 18px;">occasionally</span><span style="font-family: inherit;"><span style="line-height: 18px;"> surprise the player, and as long as the game clearly communicates this message, then the developers consider the game a success. This is clearly surveying the reviews of </span></span><a href="http://www.metacritic.com/games/platforms/pc/leftbehindeternalforces" style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #22522a; font-family: inherit; line-height: 18px; margin: 0px; padding: 0px;" target="_blank">Left Behind: Eternal Forces</a> <span style="font-family: inherit; line-height: 18px;">as a game. </span></div>
<div style="text-align: justify;">
<span style="font-family: inherit; line-height: 18px;"><br /></span></div>
</span><span style="background-color: white;"><span style="font-family: inherit; line-height: 18px;"><div style="text-align: justify;">
<span style="font-family: inherit;">The second is the IP holders. Like the audiences, they see the game as a marketing tool not just for their IP, but also for their message. So, again, if the message is at the forefront, clearly presented, and continues to be inline with the ultimate spiritual goal, then the IP holders don't care if the gameplay is good. The meaning and message is <i>key</i>, everything else is secondary.</span></div>
</span><div style="text-align: justify;">
<span style="line-height: 18px;"><br /></span></div>
<span style="font-family: inherit; line-height: 18px;"><div style="text-align: justify;">
<span style="font-family: inherit;">So, how can we get by this and how can developers bring together these seemingly exclusive worlds together in such a way that these games appeal to both gamers and the faithful?</span></div>
</span><div style="text-align: justify;">
<span style="line-height: 18px;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><span style="line-height: 18px;">Allegory could work, but this tends to be perceived as diluting the message. Allegory is open to interpretation, which goes against a specific spiritual meaning. Even if there is by in by like minded people, an allegory could be </span></span><span style="line-height: 18px;">misinterpreted</span><span style="font-family: inherit;"><span style="line-height: 18px;"> or missed entirely. The Left Behind series is a pretty good description of that; while it is couched in Bible, that is firmly couched in the prophecies as literally </span></span><span style="line-height: 18px;">interpreted</span><span style="font-family: inherit;"><span style="line-height: 18px;"> in the Book of Revelations (itself a work that is littered with allegory).</span></span><span style="font-family: inherit; line-height: 18px;"> </span></div>
<div style="text-align: justify;">
<span style="line-height: 18px;"><br /></span></div>
<span style="font-family: inherit; line-height: 18px;"><div style="text-align: justify;">
<span style="font-family: inherit;">Improving the gameplay would, of course, provide these spiritual games with a wider audience. As we've seen, that is a fine line to tread. Gameplay is iterated upon to create a fun experience with the goal of creating emergent events that occasionally surprise the player and allow them to find new ways to interact within the game rules to achieve their goals. That means, in story-based games, that both gameplay and narrative are molded together into a single entity. This is no different than translating books into movies. Some aspects of books are invariably cut to create a much more compelling, both visual and pacing-wise, product. Using religious text or meanings as a narrative source, however, limits this flexibility. Altering the narrative potentially alters the message and this would be unacceptable</span><span style="font-family: inherit;">. Gameplay, as a result, can only be modified so much as long as strict and explicit interpretations is followed. The results, as we can see via the </span><a href="http://www.metacritic.com/games/platforms/pc/leftbehindeternalforces" style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #22522a; font-family: inherit; margin: 0px; padding: 0px;" target="_blank">Left Behind: Eternal Forces</a><span style="font-family: inherit;">, show out that an adherence to inflexible narrative content hinders gameplay mechanic growth. Once you understand the context of the meaning, then you know exactly what to do to succeed and eliminate the need or even desire to embrace emergence in play. </span></div>
</span><div style="text-align: justify;">
<br />Studying spirituality in games is a difficult subject to tackle. Because game studies is so young, little has been done in precedent, which is a good thing. The study is novel. Game studies is also pretty fuzzy around the edges, as there are many different things to study when it comes to games, meaning it <i>could</i> be possible to study the spirituality in games. The problem boils down to how you define spirituality and meaning, because depending on the religious tradition or belief system of the researcher and the users, these terms become very fuzzy and difficult to pin down. This makes finding examples in game spaces more difficult and requiring more interpretation and critical analysis like one would find in the Humanities and its study of literature and film. One could walk down into the sociological aspects of faith and spirituality in MMORPGs, but, again, the broad definitions of spirituality and meaning would make finding specific instances difficult unless one spent a great deal of time nailing down more cogent and accepted definitions.</div>
</span>Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-84073585008922312652015-02-06T12:55:00.003-08:002015-02-06T12:55:32.675-08:00Meaning and MechanicsSo, I got into an interesting discussion on Facebook about whether game mechanics have meaning based their socio-cultural background . The idea being is that, without meaning, the mechanics are just that, but that the meaning is inherently skewed by the culture in which it was conceived. I think there is a certain flaw in the discussion, and rather than posting a huge wall of text for which Facebook is manifestly poor at dealing with, I'll get into it here.<br />
<br />
The definition of "game" I tend to go with is the one advanced by Jesper Juul. He states that a game as has the following six characteristics:<br />
<br />
<ol>
<li><b style="background-color: white; font-family: inherit;">Rules:</b><span style="background-color: white; font-family: inherit;"> Games are rule-based.</span></li>
<li><b style="background-color: white; font-family: inherit;">Variable, quantifiable outcome:</b><span style="background-color: white; font-family: inherit;"> Games have variable, quantifiable outcomes.</span></li>
<li><b style="background-color: white; font-family: inherit;">Value assigned to possible outcomes: </b><span style="background-color: white; font-family: inherit;">That the different potential outcomes of the game are assigned different values, some being positive, some being negative.</span></li>
<li><b style="background-color: white; font-family: inherit;">Player effort</b><span style="background-color: white; font-family: inherit;">: That the player invests effort in order to influence the outcome. (I.e. games are challenging.)</span></li>
<li><b style="background-color: white; font-family: inherit;">Player attached to outcome</b><span style="background-color: white; font-family: inherit;">: That the players are attached to the outcomes of the game in the sense that a player will be the winner and "happy" if a positive outcome happens, and loser and "unhappy" if a negative outcome happens.</span></li>
<li><b style="background-color: white; font-family: inherit;">Negotiable consequences</b><span style="background-color: white; font-family: inherit;">: The same game [set of rules] can be played with or without real-life consequences.</span></li>
</ol>
<span style="font-family: inherit; font-size: x-small;"><span style="background-color: white; text-align: center;">Jesper Juul: "The Game, the Player, the World: Looking for a Heart of Gameness". In </span><em style="background-color: white; text-align: center;">Level Up: Digital Games Research Conference Proceedings</em><span style="background-color: white; text-align: center;">, edited by Marinka Copier and Joost Raessens, 30-45. Utrecht: Utrecht University, 2003.</span></span><br />
<div>
<div style="text-align: center;">
<span style="font-family: Gentium Book Basic, Arial, Helvetica, sans-serif;"><span style="font-size: 14.6666669845581px;"><br /></span></span></div>
<div>
With that definition in mind, I'm looking specifically at point 1, the rules of play. These are often referred to as the game mechanics. The mechanics are often placed into a context as designated by the designer to help achieve a specific tone that the game pursues to achieve a specific emotional aesthetic. Looking at <i>Call of Duty</i>, or other games in their style, the mechanics revolve around the linear progression of the first person avatar through intense gun play and warfare. The mechanics are developed to achieve the sort of high-stakes, rapid interaction required to play the game, but the mechanics alone don't actually point at a deeper meaning. They are modern and deep in the sense of play but do not point to a higher meaning, as french philosopher Jean Baudrillard observed: “...the secret of true modernity lies in artifice, the only natural spectacles that impress are those which simultaneously betray the most striking depth and the absolute simulation of this depth” (Jean Baudrillard, <i>America</i>, 139); (emphasis in the original). The artifice of <i>Call of Duty</i> is to make the player feel as though they are in a massive battle. It is all clever trickery. The mechanics of the weapons are deep and unique, combining bullet spray, recoil, reload times and damage values based on cover and hit location of the target, and the simulation feels real and feels fun, but the core mechanics aren't that deep and are merely shifting between set values and capabilities. </div>
<div>
<br />
<br />
On the other hand, there are games where the mechanics mean something. In this, they are artifact - something deliberately created as a result of preparatory or investigative procedures. The developers have set out to link the interaction of play with a definite theme, and have placed a specific limit on their creation to achieve that goal. This is the ultimate difference between artifice and artifact, intentionality in creation that merges the mechanics with the narrative elements of the game. In the creation of gameplay artifact, the developer is doing more than simply doing what is fun, but discovering methods to give actual meaning and not simulated depth to play. In an interview with "Ubiquity", Dr. Mihai Nadin states "The computer executes tedious routine assignments and supports the generation of alternatives, but the creative genius, the aesthetic choice, remains with the human being" (http://ubiquity.acm.org/article.cfm?id=1046683). This intentionality allows game designers to take mechanics beyond setting the tone of play. A recent example of this sort of intentionality of infusing mechanics with meaning would be <i>Thomas Was Alone (</i>http://www.mikebithellgames.com/thomaswasalone/). In it, you play as a variety of polygons with different movement capabilities. Each polygon character has unique capabilities and their interaction with the game world illustrates specific behaviors and personality types as they interact with each other. As a result, a very intentional design decision was made to tie the mechanics to a specific meaning.<br />
<br />
The meaning of these mechanics is certainly rooted within the context of the games socio-cultural context. But, that is with a caveat - mechanics don't always have meaning. Mechanics can exist simply to impart a specific tone to the larger aesthetic experience of the game. The number of games that provide meaning through mechanics is small but growing, particularly as games become more diverse and ubiquitous across the planet. These meanings will be fundamental, but properly implemented, will provide a powerful emotional connection and aesthetic that pushes games out of artiface and into artifact.</div>
</div>
Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-31530228429229410992014-12-17T06:49:00.002-08:002015-02-09T17:58:48.582-08:00Thoughts on "Hatred"With finals complete and a bit of downtime before the spring semester, I thought I'd weigh in on the recent controversy surrounding the game <a href="http://kotaku.com/hatred-yanked-from-steam-yesterday-is-already-back-1672064186">"Hatred" and Steam</a>.<br /><br /> Now, for those that don't know, the game appears to be the sort of game that <a href="http://www.jackthompson.org/">Jack Thompson</a> always warned us about - it is, in fact, a mass murder simulator. You can view the trailer below (NSFW...or anyone at anytime for that matter):<br /><br /><div style="text-align: center;">
<img src="https://img2.blogblog.com/img/video_object.png" /></div>
<br /><br />To put this into perspective, (if you didn't watch the trailer, I can't blame you) the game looks banal, the concept is insulting, and it looks like little more than a digital version of the sort of bilge water one finds in <a href="http://en.wikipedia.org/wiki/The_Turner_Diaries">The Turner Diaries</a>.<br /><br /> The developers have ostensibly said that this is a response to "politically correct" gaming, via its website: <br /><br /> "These days, when a lot of games are heading to be polite, colorful, politically correct and trying to be some kind of higher art, rather than just an entertainment , we wanted to create something against trends," offers the statement. "We say ‘yes, it is a game about killing people' and the only reason of the antagonist doing that sick stuff is his deep-rooted hatred."<br /><br /> So, it is deliberately trying to be artifice and blatantly commercial. That's fine. There are tons of games out there that do just that, and that is part of the problem. In order to leave some sort of lasting statement in any sort of endeavor, you need to say something relevant that goes beyond "we're just making entertainment." <br /><br /> Think of Michael Bay films.<br /><br /> I know, easy target, but bear with me.<br /><br /> Michael Bay films are just entertainment. They are vapid and loud, filled with sound and fury and signifying nothing. Even though Transformers 4 set records for global ticket sales, it will never find its way into the consideration of great entertainment, even among movies, because none of his films have anything to say save, maybe, The Island, but that was merely cribbed from far more nuanced sources like Brave New World. <br /><br />Looking at the AFI Top 100, there are movies on the list that - in their time - were considered fluff pieces like Casablanca, and Star Wars. Some were made specifically as epic films, like Lawrence of Arabia, and others to explore far more lofty goals like 2001: A Space Odyssey or Doctor Strangelove. These movies tried to say something or they utilized the craft in exceptionally compelling ways that defies time or they moved the art of move making forward and set new standards.<br /><br />So what is <i>Hatred</i> trying to say? They are hardly being iconoclastic with their choice to embrace senseless violence. <br /><br />The problem is that they are reacting to something that, ultimately, they don't appear to really understand. There are plenty of games out there that are pure entertainment that don't say anything at all. There has also been an explosion of games as art because the overall culture has become more accepting of the medium as a mode of expression beyond entertainment. Movies went through similar growth over the past century, and there is plenty of room in the market for both art films and pure entertainment films.<br /><br />It can be debated that all games are art (I would debate that games like <i>Deer Hunter</i> are not, while games like <i>Super Mario Bros.</i> is art because it advanced the medium forward and established certain bars for interactivity and design instruction) but there are certainly games that push the boundaries of the game aesthetic by creating unique dynamics. <br /><br />What is the aesthetic that the developers of <i>Hatred</i> are trying to create in the player?<br /><br /> Keep in mind that developers formulate mechanics which the players experience by creating interesting dynamics. It is the emotional response to these dynamics that creates the desired aesthetic. So, they dynamic is the mass murder of innocent people. What sort of emotional response are the developers trying to create? The protagonist is a faceless cutout that is, as described by the trailer, only filled with hatred of his fellow man. Truly a one-dimensional character with a singular motivation. <br /><br />If you're going to take the time to give the game context, at least try to do it well. And, in this regard, the context is missing.<br /><br /><i> Hatred</i> looks like a terrible game, and not just because of its chosen path, but because the developers are wasting a chance to make a relevant statement but they lack the nuance to do so. Developing a critique of political correctness, or media responses to such shootings, or even said something about mental illness, takes nuance which, in judging by their trailer, the developers lack. <br /><br /> The game is explicitly vapid entertainment, and in a time when games are trying to grow beyond that niche, it is not a step forward but another voice hidden in the marketing blitz of millions of similar titles. Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-313441367345295192014-12-14T20:02:00.001-08:002014-12-14T20:02:24.223-08:00Like a PhoenixSo, much has changed since I have last posted.<br />
<br />
Well, actually, not much has changed. Still in the Masters Program at UTD. I am nearly complete with my second semester. The current fall semester is wrapping up this week, and thus far, I feel pretty comfortable with two of my three classes. <br />
<br />
<b>Game Design</b><br />
Unfortunately, this felt like a gimme. After a decade or so in professional development, the requirements of the class were fun. I had the chance to work with some great people on board games, playing competitive games (Games Workshop continues to deliver when it comes to obtuse rules), and building levels and modules for ARMA 2. I'm working with another student to build a co-operative ARMA 2 multiplayer level. Its nearly done.<br />
<br />
<b>Game Lab</b><br />
This was an interesting experience. The class dealt with building the vertical slice of a game. If you would like to check out our work, you can view the link <a href="http://www.utdallas.edu/atec/gamelab/returntocolor/">here</a>. Part of me felt like I was on the wrong team from the standpoint of scope and features - our game was pretty straight forward and the team worked incredibly well together. It reminded me of the days of "Aeon Flux" at Terminal Reality. I don't know the specifics of the other team, but comparing the quality and experience of the two teams seems night and day. Our team worked together and how carefully we scoped and planned the project, our work went incredibly smoothly and, when playing the other teams game, wondering if I couldn't have helped them a bit more.<br />
<br />
<b>Aesthetics</b><br />
This was an interesting class. It is a required class, and I'll be the first to admit that my knowledge of aesthetic analysis was fairly limited to architecture. In many ways, I felt as much out of my depth as I felt in the previous core class. <br />
<br />
That said, I enjoyed the class. I felt like I learned a snippet of a lot of cool information and had the chance to experience a lot of little different things. I had the chance to interact with a brilliant instructor who possesses a singular wit.<br />
<br />
As we get closer to the Winter holidays, my school work is tapering off with finals this week but will pick back up in January. I will endeavor to spend more time posting, my next semester will be more heavily engaged when it comes to writing.<br />
<br />
Cheers!Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-18319064612177880692014-06-11T13:41:00.000-07:002014-06-11T13:41:06.134-07:00Assassins Creed and Female Protagonists<span style="font-family: Verdana, sans-serif;">I was perusing the recent E3 shenanigans when I found an article about Ubisoft and admitting that there was plans to create a female avatar in the latest Assassins Creed but it was ultimately cut. The arguments why they character was cut is limited to soundbites, but ultimately comes down to scheduling. The arguments and outrage against the choice seems to be disproportionate with the decision, as the general outrage via articles and their subsequent comments indicate.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />From personal experience, on its face, it sounds easy to create female avatars. This is a very high-level and naive view of the amount of time, effort, and energy it takes to create a player avatar. There is a lot of work, start to finish, that goes into creating a player character.<br /><br />So, lets start from a very high level here. Ubi <i>is</i> speaking from experience. The PSP Assassins Creed IV title featured a unique female protagonist. They have made more than one Assassins Creed title, so they understand the time and effort it takes to not just make a good looking protagonist, but a digital <i>star</i>. Ignoring the marketing aspects here, it takes months of concept art development and approval. This is followed by many more months of high-res and low-res model development, refinement, and approval based on unique costumes and various assets associated with the avatar. Then we're talking animations. Not only does it require capturing motion-actors, but also creating a visually pleasing and exciting fighting style that at least matches the existing combat players expect. Most of all, the style needs to be visually unique to justify the investment and potential of the character. It takes a year, at least and as a very conservative estimate, of constant development to create a compelling and unique character.<br /><br />Further, had they simply changed the gender of the character without the accompanying style and characterization misses the point. It would've been a hack. A cheap and easy hack, sure, and would have worked only superficially but would have left the audience with a big shrug. Why take the time to build a unique character and simply reuse the entire animation suite for a completely different character?<br /><br />The other problem is the wealth of content already available to the studio based on the rest of the franchise. There are a lot of animations already available and, depending on the character, would apply more smoothly for a male as compared to a female character in a very general sense.</span><span style="font-family: Verdana, sans-serif;"><br />Finally: we need more strong female protagonists in games. I am entirely for it. That means female protagonists that get the same time, effort and energy as their male counterparts. And that means they looked at the production triangle and determined that the <i>time</i> and <i>money </i>were not moving, which meant that they had to lower the <i>quality</i> to add another feature. Given this is a flagship series for Ubi, producing a low quality character was <b>unacceptable</b>. Argue for more female protagonists, but understand that it is a feature like any other piece of content and one has to abide by the immutable production triangle. If Ubi wants a female protagonist, they want her to be the protagonist as in previous titles, and want her to be unique. A female assassin in AC <i>should</i> be unique. <br /><br />Anything less is a disservice.</span>Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-57407516896667946622014-05-01T15:30:00.003-07:002014-05-01T15:34:12.717-07:00Musical Analysis - "An End, Once and For All"<div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
</div>
<div style="color: #444444; margin-bottom: 4px; min-height: 14px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-align: justify;">Constructed from synthesizers, piano, and sampled instruments, “An End, Once and For All” from the video game </span><i style="letter-spacing: 0px; text-align: justify;">Mass Effect 3</i><span style="letter-spacing: 0px; text-align: justify;"> by Clint Mansell and Sam Hulick can be viewed as an exploration of the aftershocks of the end of the world and its subsequent rebirth. Used during the credits and postlude of the game, the simplicity of the piece belies its depth, providing an aural capstone to one of the most renowned space operas on the Xbox 360. The theme of the trilogy centers around the power of relationships and their place in overcoming armageddon, with this piece specifically providing closure to the trilogy. The structure belies a deeper meaning: it is the ending of one story and the beginning of the next.</span><span style="letter-spacing: 0.0px;"></span></span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;"><br /></span>
<span style="letter-spacing: 0.0px;">The piece begins simply. Soft piano notes float out with Mansell and Hulick evoking the first movement of Haydn’s <i>The Creation</i> with an organized chaos of notes appearing out of the depths of silence. The seemingly disjointed notes paint an image of the last flickers of light after judgement. The timbre is soft and gentle, providing a feeling of understanding in the face of insurmountable loss. This sense of foreboding and mourning is the most obvious and explicit meaning of the music, and it fits with the theme of the story and its place at the end of a narrative trilogy. The notes we hear are the words following judgement day. </span></span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;"><br /></span>
<span style="letter-spacing: 0.0px;">The double meaning though, based on the origin of the music, is evident. These notes are not simply the dying embers of one life, but the first sparks of creation of the next. To give truth and finality to the judgement, synthesizers emulating the violin section of an orchestra swell, joining and overtaking the piano momentarily. The synthesizers provide an interesting structural change for the piece. The timbre of the piano notes are gentle and the attack brief. The synthesizers, by contrast, are a wail that does not end discretely, but shifts directly from note to note. Each note is subsequently sustained until the next note is played with little fall off. The synthesizers crescendo and then drop away entirely, leaving the piano behind to continue the work of creation, serving as the climax of judgement, providing an exclamation point on the end. As the piece continues, the piano progressing past this false crescendo, we understand explicitly the intent of Mansell and Hulick. The crescendo signifies the end of the original story and events we are leaving behind as we follow the piano forward. </span></span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;"><br /></span>
<span style="letter-spacing: 0.0px;">As the piece progresses and the piano notes appear less chaotic and take on a clearer form. The notes split into two registers, one high the other low. The high notes, a lone pair, ring out in time and establish an insistent rhythm. The resulting structural split into the two distinct registers creates a distinct musical form upon which establish the absolute boundaries within which the chaotic notes move and shift. The melody begins to take shape, using the simple rhythm to set the stage and to prepare the listener for the new story that has supplanted what was lost in Armageddon.</span></span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;"><br /></span>
<span style="letter-spacing: 0.0px;">The lower register resumes its place as the basis of the piece, and the higher register creates the rising emotion. The piano, its timbre soft, grows in hardness as synthesizers are reintroduced. The synthesizers are pitched high, driving the piano down into the lower registers and simplifying its melody as the two together clear the aural palette. </span></span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;"><br /></span>
<span style="letter-spacing: 0.0px;">The piano, once light and soft is now dark and full of foreboding. The piano is joined in the lower register by strings, providing depth and gravity to the piece. The piano establishes the rhythm, but the soul and power of the piece is now the strings, hitting hard with a keen edge to their tone. Brass and snare drums are introduced, joining the strings, taking the piece beyond the soulful and serious business of creation and delving deep into the foul specifics of civilization. The strings pop up a register, no longer disappearing in the mix, but joining the drums and brass in one voice, sounding like an army marching to war. The piano disappears entirely, letting the newcomers build upon the previously hinted insistence while the march provides greater structure and tonal depth. Here, the piece is fully realized as all of the divergent instruments come together as one in crescendo, providing proof of the rebirth of man and his defiance in the face of armageddon. </span></span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">“An End, Once and For All” by <i>Mass Effect 3</i> by Clint Mansell and Sam Hulick is an expression not just musical design being influenced by the game design, but tackles hopeful and optimistic themes that far exceed the scope of the game for which it was made. On the surface, the structure and timbre of the various instruments allude to a piece created with a very specific and limited purpose. By embracing classic influences such as Haydn and <i>The Creation</i>, with its seemingly chaotic instrumental interpretation of the creation, Mansell and Hulick have taken a proven template and used it in a way not familiar to the typical audience of this piece. Mansell and Hulick show that creation is more than something from nothing. Rather, this piece is evidence of Mikhail Bakunin’s assertion that we should “…put our trust in the eternal spirit which destroys and annihilates only because it is the unsearchable and eternally creative source of all life. The urge to destroy is also a creative urge” in his essay “Reaction in Germany - A Fragment by a Frenchman”(<i>Deutsche Jahrbücher für Wissenschaft und Kunst</i>, October 1842). </span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The Music:</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/TLxv_g_zQkY/0.jpg" height="266" width="320"><param name="movie" value="https://youtube.googleapis.com/v/TLxv_g_zQkY&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://youtube.googleapis.com/v/TLxv_g_zQkY&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></span></div>
<div style="text-align: justify;">
<span style="letter-spacing: 0.0px;"><br /></span></div>
Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-42191801429233306072014-04-29T19:22:00.001-07:002014-04-29T19:22:13.048-07:00Review - "The Last of Us"<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This is going to be a rehash of some Facebook ranting, but I intend to flesh this out a bit from a much deeper review than what the limited format of social media allows.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">So, at the behest - alright, stunned silence - of one of the PhD's here at UTD, I picked up a PS3 with "Arkham Origins" and "The Last of Us" bundled together. Seeing as how there are some games on the PS3 I wanted to play, and that a Blu-Ray player is always appreciated, I set it up in the bedroom and got everything hooked up and running.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">With all of the accolades the game received, I decided I'd fire up "The Last of Us" first and leave "Arkham" for another time. I knew what "Arkham" entailed in terms of gameplay, and as delicious as it sounded, I knew I had to invest in what many consider the pinnacle of the PS3 game library.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I've played a couple of hours into the game and in that time, I grew increasingly frustrated with the game. While there was a lot to enjoy in what would be considered the fringe elements of the game, what frustrated me strikes at the core of the gameplay experience. From the core of the universe as created by Naughty Dog to the initial training and subsequent combat system and the resulting feedback, I found myself restarting sections of the game because unintended controller input, unexpected weapon response, or unexpectedly being spotted by Infected while hiding mean I got my face eaten for seemingly no reason, or for reasons related directly to flaws presented by the developers.</span><br />
<br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Naughty Dog did a great job of world building. The universe <i>seems</i> fleshed out, consistent, and the characters all felt grounded and real. The details of a fallen world that is an apocalypse of humanity is compelling, and it creates fantastic vistas and backdrops for encounters. But, being someone who enjoys world building, one thing stood out and it lies central to the core of the game universe. That is, the comparative power of the infected vs. humanity. In the game, the world is presented as being overrun, the power of the Infected far exceeds the power of the </span><br />
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I don't really get a sense of the comparative power of the infected vs. the remaining security forces of the Government. The fallen world that is portrayed implies that the infection and its transmission vectors have sufficient power to overwhelm the medical and physical capabilities of humanity, but the forms experienced of the Infected seem to go counter to this. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">To illustrate this comparison, I'm going to use the novel <i>World War Z</i> by Max Brooks and how the Zombies, or Zeds, overcome humanity. The Zeds of <i>World War Z </i>are slow, lumbering beasts that rely on ambush, near immunity to damage and overwhelming numbers to attack and kill or create new Zombies.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In essence, the Zed threat is broken down thusly:</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">1) Transmission of the virus that creates a Zed is easy. Saliva, not usually a hardy media, will transmit the bug.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">2) Multiple transmission vectors means there are multiple ways to get people infected. It is hard to contain.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">3) Killing an infected zombie is surprisingly difficult. The weapons of humanity are designed to mutilate and incapacitate a target as much as it is to kill a target. Shrapnel can incapacitate multiple soldiers, but does nothing to a Zed. This required retraining soldiers. Zed overwhelms Humans because killing a Zed requires relative precision and our weapons are designed to kill by maiming.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By comparison, the Infected in "The Last of Us", there is one similarity:</span><br />
<br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Multiple transmission vectors means there are multiple ways to get people infected. Whether bitten or inhaled (at proper concentrations), you can be infected in a variety of ways</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">But here is where things are broken:</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Transmission of the fungal infection is not particularly easy. Unless spores reach a critical PPM (parts per million) in the air, someone cannot be infected. This is something that Naughty Dog admits to. Fair enough - it explains why there are places that the spores won't infect you immediately. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Killing an infected zombie seems to be <i>very</i> easy. Early infected - even up to the Clickers - seem just as susceptible to injury as the Uninfected/normal people. If they are, as illustrated in the game, that susceptible to injury, why weren't the wealth of conventional arms available in any military inventory proof against the Fungal hordes? Mine fields and barbed wire would slow down the Fungi. Assuming the militaries could have had time to establish any sort of defense, killing the Fungi would have made the First Battle of the Marne seem elegant by contrast. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Humanity falls in World War Z because of faulty training and imperfect killing machines. Existing training and imperfect killing machines are just as well suited for killing the infected as it would be the uninfected. Given their universal weakness against fire, man-portable flamethrower teams would have burned down the infected and, based on their responses to the flames, caused the others to flee in panic.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ok, so, for all of the strains of its great writing - and it is well crafted - key planks of the universe are built on a shaky foundation. I've consistently had a hard time believing that the Infected I've seen thus far would have brought down global civilization.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The dialog is better than most games, and what I've dealt with in the story, it is seemingly well written. I'll admit that I haven't played the game all that long. The only real niggle I have with the story, thus far, is this:</span><br />
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">When, exactly, did Tess get bitten? How did I miss it? The revelation seemed to drop out of nowhere and felt very </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">deus ex machina.</i><br />
<i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></i>
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The character art sits firmly within the uncanny valley, which is an ongoing issue for realistic game worlds.</span><br />
<br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">As a designer, though, I tend to notice things like world consistency because it directly relates to gameplay. The hordes brought down civilization, so I am rightly afraid of them. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The game has taught me, from the start, to flee the Infected. The infected have few weaknesses and so, to survive, I need to evade.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Message received.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">But did Naughty Dog remain consistent in this message?</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Not.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">At.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">All.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-16341972996392206182014-04-22T17:47:00.002-07:002014-04-22T17:47:32.857-07:00Musical Analysis - "HALO Opening Suite: The Ancient and the Modern"<div style="font-family: Verdana; font-size: 12px; text-align: justify; text-indent: 27px;">
<span style="letter-spacing: 0.0px;">The opening suite of the video game <i>Halo (2002)</i> with a score by Martin O’Donnell and Michael Salvatori is an aural presentation of the contrasting relationship between the modern and the ancient, as the composers use a mix of ancient and modern musical instruments to create the core elements of the piece. One of the themes presented is the intertwined relationship between modern and the ancient. The entire score of the game exemplifies this relationship, but in no place is it more apparent than in the opening suite. The modern is represented by synthesizers, heavy percussion and high-hat cymbals, along with string instruments such as the viola and the contrabass. The ancient is represented by men’s voices as simple tones without lyrics plus hand-driven drums.</span></div>
<div style="font-family: Verdana; font-size: 12px; text-align: justify; text-indent: 27px;">
<span style="letter-spacing: 0.0px;">From the outset, O’Donnell and Salvatori emphasize the dynamic between ancient and modern by evoking musical qualities not typically found within this genre of game, giving the score an unusually powerful emotional tone. O’Donnell and Salvatori begin the piece with a rising climax of synthesizers and cymbals, followed by the introduction of a lyric-free Gregorian-style chant, using the timbre of the male voices as a rich set of instruments. There is an interplay created between the percussion and synthesizers. The synthesizers create a low bass drone framing the chant and brings to the fore the thematic conflict presented in the game. The electronic modern supports the analog ancient, grounding the work, while the ancient gives the modern soul and depth.</span></div>
<div style="font-family: Verdana; font-size: 12px; text-align: justify; text-indent: 27px;">
<span style="letter-spacing: 0.0px;">Following the choral opening, the rhythm of the piece is firmly established by the introduction of simple, primitive drums. Here, the roles are reversed as the ancient is supporting the orchestral new. The string instruments build in their intensity, matching the beat of the drums and evoking the rising conflict that the player will experience over the course of the game.</span></div>
<div style="font-family: Verdana; font-size: 12px; text-align: justify; text-indent: 27px;">
<span style="letter-spacing: 0.0px;">As the strings build through a brief intermezzo, the ancient is woven more directly back into the piece. A lone voice becomes woven into the texture of the fabric of the piece, rising and falling as if calling the faithful to prayer in an Islamic salat. The prayer rises high, standing out, evoking the the high tones of the voice lashing out like a whip, on the verge of cracking at the upper end of the singers range. The harshness of the voice stands as a call and a challenge of the ancient voice of the past against the programmed, manufactured smoothness of the modern strings. </span></div>
<div style="font-family: Verdana; font-size: 12px; text-align: justify; text-indent: 27px;">
<span style="letter-spacing: 0.0px;">The piece begins its climax as these elements are brought in with more vigor and emotion. The piece becomes more dynamic, approaching its crescendo, the ancient and the modern becoming intertwined into a single system. Here the intertwined nature of the themes becomes most evident as the song continues its climb through a brief bridge and to its climax. Rather than a rousing finale, the modern falls away almost completely. A low tone of synthesizers and the chorale remains, echoing the haunting reverie that has been a hallmark of the piece.</span></div>
<div style="font-family: Verdana; font-size: 12px; text-align: justify; text-indent: 27px;">
<span style="letter-spacing: 0.0px;">O’Donnell and Salvatori have done more than use the opening suite of <i>Halo</i> as an ear-catching, highly identifiable piece to aid in the capture of the player. The piece perfectly captures one of the core themes of the game’s mythos - the complex and intertwined relationship between the ancient and the modern. By weaving complex and modern instruments with two of the most basic musical implements in use by historic man, O’Donnell and Salvatori plant a musical hint whose nature is ultimately revealed over the course of play. This hint illustrates the depth of the game itself, in a genre not known for depth or symbols, but also the attention to detail and design by the composers, creating a seminal musical piece that stands as complete beyond the scope of the game.</span></div>
<div style="font-family: Verdana; font-size: 12px; text-align: justify; text-indent: 27px;">
<span style="letter-spacing: 0.0px;"><br /></span></div>
<div style="font-family: Verdana; font-size: 12px; text-align: justify; text-indent: 27px;">
<span style="letter-spacing: 0.0px;">The piece in question:</span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/1DB4PvAGoIM?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-83472050998972937542014-04-21T18:45:00.004-07:002014-04-21T18:45:45.075-07:00Trials and Tribulations of the Volvo 850<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">For the uninitiated, I've taken it upon myself to get more "hands on" when it comes to car care. I've eschewed more modern cars and embraced several older cars that are, by all accounts, exceptionally easy to care for. My family and I own three cars:</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<br />
<ol>
<li><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A 1991 Mazda Miata. This was the car from which the seed of this great adventure was sown. While this car is by no means perfect, I think I've got a small oil leak, I've done everything from a timing and accessory belt replacement to routine maintenance. This is definitely a fair-weather car right now. I've slammed it down an inch and tuned the suspension to be more aggressive.</span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">A 1997 Volvo 850 Wagon. The seminal family car. Unfortunately, the previous owners were less than careful with maintenance. As a result, I've been replacing...well...a lot. I've put on new rear shocks. I've replaced the Positive Crankcase Ventilation system. I've done routine maintenance. This car, I don't think, has at it this good. After taking it on a </span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">road trip to Iowa, my wife fell in love with the brand which led to...</span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">My wife's 1997 Volvo S90 Sedan. Phased out in 1998, this car has less than 100k miles on the clock and was in excellent condition. It needed some minor interior bits, such as broken safety lights on the doors and a tiny bit of trim. It has also developed a bit of an oil leak of late. I think one of the rear cam seals is failing, but I'm thinking the gaskets on the oil cooler lines have gone.</span></li>
</ol>
<div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The 850, though, is the most worn of the three. I've had a recurring issue with the Secondary Air System (SAS) as well as a lingering gas smell. So, one day - with the help of my Father-in-Law - I replaced the three major parts of the system that could screw up the SAS. These parts being the air pump, the check valve and the pump relay. The issue was not resolved, which officially puts the problem out of my knowledge base. </span></div>
<div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The lingering gas smell is related to a recall in which the heat shield surrounding the gas tank gets loose and begins to rub the connections with the tank, creating small holes. This is, of course, a major fire hazard. The 850 was not serviced for this recall, so, I took the car so it doesn't explode in flames for the recall and am having them check my handiwork on the SAS.</span></div>
<div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">But, I have to say, I'm fairly in love with Volvo's now. Much like VW's, these cars have a very very <i>solid</i> feel. Stout, but still nimble. If I had a gripe, it is that the car is a bit hampered by the automatic transmission - the engine has pep, and would be a hoot to drive if I weren't losing so much torque in the slush box.</span></div>
<div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">As I find out more about the 850, I will let everyone here know.</span></div>
<div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Now, something a little mellow to round out the evening that appeals to my UU-ness:</span></div>
<div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/YtZUM0JhLvc?feature=player_embedded' frameborder='0'></iframe></div>
<div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span>Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-19448681991024280132014-04-18T20:22:00.002-07:002014-04-18T20:22:51.319-07:00Just hanging out on the couch, nearing the end of the semester<blockquote class="tr_bq">
<span style="font-size: x-small;"><span style="background-color: white; color: #252525; font-family: sans-serif; line-height: 21px;"><i>"If this thing goes sideways and we end up on the other side, meet me at the bar. I'm buying." </i></span></span><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: x-small; line-height: 21px;"><i>-- </i></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small; text-align: right;">Garrus Vakarian</span><span style="font-size: x-small; text-align: right;"> </span></blockquote>
<br />
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">For those that don't know, and I think that would be most everyone who peruses my blog, I have gone back to school to work on a Masters Degree in Arts and Technology at the University of Texas at Dallas.</span><br /><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I'm looking to begin teaching as a profession at UTD, but, at the same time, I'm on the fence about taking some levels as academic and work on a PhD. I think I'll trend my class selection toward that goal, but teach for a few years before jumping in toward being a professional academic.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">My initial class load includes an analysis of music and myth, which has been a challenge. While I've had a chance to really stretch out my intellectual and creative muscles, and listen to some really great music, it's been a source of stress. The class puts me considerably outside of my element. Not even the same periodical chart.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I've also worked on a serious game in an experimental game lab. That has been fun, and I've had the chance to work with some cool people on the game. It's been a great experience and let me delve into something that would not have any financial gain. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Finally, I've been working on a class called "Design Principles". While these principles generally are attributed to visual design, many are applicable to game design. The professor, Professor Cassini Nazir, is fantastic. His wry sense of humor conceals a very deep appreciation for the material.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In the spirit of my musical analysis piece that I wrote, and because it evokes some powerful memories, I give you a favorite piece of mine from Mass Effect 3:</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/TLxv_g_zQkY/0.jpg"><param name="movie" value="https://youtube.googleapis.com/v/TLxv_g_zQkY&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://youtube.googleapis.com/v/TLxv_g_zQkY&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-61818777166404471492014-04-15T18:37:00.001-07:002014-04-15T18:37:41.418-07:00Late to the Party<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Alright,</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I finally picked up a <i>Playstation 3</i>. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I was an avowed Xbox user. When given a choice between Xbox and Playstation 2, I chose the Xbox. I picked up an Xbox 360 as an early adopter and eschewed the PS3. But, after reading the fine press (and knowing several of the developers) on "The Last of Us", I decided to bite the bullet and invest. So, I picked up a bundle that included a PS3, "The Last of Us" and "Arkham Origins".</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">After playing "The Last of Us", my feelings on the game is summed thusly:</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://i.imgur.com/UCB4LZZ.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://i.imgur.com/UCB4LZZ.gif" height="240" width="320" /></a></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The game is gorgeous. The storyline is compelling. I challenge any parent to not have a dry eye after the first 30 minutes. Performing some stealth and avoiding disgusting fungal zombies is always a treat.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">What genuinely has bothered me about the game is twofold. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The first: the gamification of the narrative has really bothered me. To put it succinctly, <i>Naughty Dog</i> crafted a fantastic narrative and visual experience, yet break the fourth wall with unnecessary controller interactions. I lost count of the number of doors I had to press a binding to open where that binding was entirely and wholly unnecessary. Worse, the door progression was not interactive - I wasn't bashing down the door - it was merely a progression blocker that could have been solved by a trigger and accomplished the same thing invisibly. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">What's worse - there is a trigger in some form in front of the door. Something is tracking player location in relation to the door to know when to pop up the hint. If this proximity sensor automatically keyed the "open door" animation sequence without the hint, the game would've been much cleaner and far more immersive.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This would have required a far more delicate touch in terms of path design, highlighting the dominant path appropriately, but would have taken an already cinematic game and made it more immersive.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The second: poor communication of weapon capabilities. The first time I was given a long rifle, I lined up a shot on a poor soldier's helmet-less head and fired. Watching the soldier play his hurt animation and the impact effect playing on the chest, I was surprised. Frowning, I reloaded the checkpoint and performed the same action and missed the shot entirely. The reticule of the weapon was an arbitrary point in space that does not react when the weapon was fired. Therefore, the weapon was illustrating explicitly where it will hit, but was implicitly modifying the impact point invisibly to the player.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In a game where ammunition is supposedly (in keeping with the post-apocalyptic theme) limited and stealth paramount, this sort of gameplay is needlessly frustrating particularly when illustrating accuracy is such an easy thing to accomplish. Further, the game tells you it is tracking weapon accuracy through the upgrade system. This is data the game is already manipulating through player action without explicitly illustrating the manipulations. Providing a player a 10% increase in accuracy on a weapon is moot unless the player understands the difference between the current and improved values. To fix it? Illustrate the current accuracy value through the reticule by illustrating the potential perturb of the weapon. Improve the accuracy, shrink the reticule and show the player how much more accurate he has become with that weapon.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">One is surely a nitpick, but a valid one from a narrative-interaction standpoint. The second is a genuine complaint about a core gameplay mechanic. I'm sure that I will get back into the game, but right now, I'm really having to work up the "desire" to play the game.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">And I know that I shouldn't.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><u>Music of the Moment</u></span><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Kk8eJh4i8Lo?feature=player_embedded' frameborder='0'></iframe></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0tag:blogger.com,1999:blog-6971360482593835121.post-27282342627174041952014-04-15T17:50:00.002-07:002014-04-15T17:50:47.709-07:00Design Theory: Shooter Weapons and CombatIn first person shooters, there is really two gameplay requirements upon which the entire genre is built around:<br />
<ol>
<li>Firing the weapons is fun</li>
<li>Moving through the world is easy and engaging</li>
</ol>
It doesn't matter what other features you have in a shooter, third or first person, if your basic, "through the barrel" experience is lacking, the rest of the game won't matter to the player. The best games are the ones where both of these are achieved invisibly.<br />
<br />
One can certainly make point 1 or 2 more interesting or compelling, thereby increasing the efficacy of the gameplay experience for the shooter enthusiast. Without the two points above, you don't have a "fun" shooter game.<br />
<br />
<b>EXAMPLES</b><br />
<i>Borderlands 2</i><br />
The recent title from Gearbox places a unique spin on point 1 to make up for the relatively straight-forward approach to point 2. Embracing classic titles like <i>Diablo II</i>, the guns are generated by the game as 'loot', determining type, abilities, etc., providing a virtually endless supply of unique weapon experiences. By providing a variety of increasing varied, but still useful, gameplay from the weapons and their intended targets, <i>Borderlands 2</i> finds a happy medium in its approach to the 'through the barrel' experience, and the sales certainly reflect the success in this department.<br />
<br />
Movement is also smooth and easy, though, a bit floaty. This reinforces the science fiction aesthetic and background of the game, but it also increases the forgivability of falls and other events that may cause accessibility issues for players who trend toward the <i>Diablo II </i>"loot fest" style game and play few shooters. Here, the implied design requirements for accessibility to inexperienced players was leveraged into the overall gameplay design aesthetic.<br />
<br />
<i>Team Fortress 2</i><br />
<i>TF2</i> embraces its old-school roots with gusto. Each weapon is unique, based on the character class selected, and creates a wide variety of gameplay experience with each weapon. The mini-gun of the Heavy Weapons Guy has a different feel and gameplay mechanic and aesthetic than the Soldier's Rocket Launcher or the Sniper's Rifle. While this slightly increases the learning curve of the game, it also allows players to discover the character class that suits their style of play.<br />
<br />
Movement is straightforward, while simultaneously embracing organic movement abilities discovered and exploited in previous titles in the same genre. Players can "crouch jump" to increase jump height incrementally, based on the game <i>Half-Life</i> and derived from its engine. Some classes can use their weapons to throw themselves high into the air, using a "rocket jump" first used in <i>Quake </i>multiplayer<br />
<br />
<i>Spec Ops: The Line</i><br />
I've only recently purchased the title, and have played several hours into the campaign, but my first impression of the weapon behaviors is "meh". There is nothing to attract me to the combat behaviors, and while certain weapons provide differing abilities, such as the M4 having a silencer, the AK47 having a fire select, for example, these abilities are not immediately obvious and, in rare circumstances, provide a significant change in gameplay. Further, the behavior of your targets are, at times, both criminally stupid and <and>brutally accurate.</and><br />
<br />
Further, movement in the game is hampered by a rather dubious control scheme. I find myself having to think about which binding to press for sprinting, even as I completed the game. I was also given a short tutorial about how to move my squadmates and give them orders, but the on-screen prompt lasted less than 5 seconds and didn't wait for me to actually give the command before it disappeared. It feels like a system that wasn't completely realized, and subsequently shoe-horned into the game.<br />
<br />
While the atmosphere of the game is excellent (but, can we find another everyman besides Nolan North? Please?), and the writing a new standard, the gameplay thus far is ho-hum, if not mildly frustrating.<br />
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/14949489619123606333noreply@blogger.com0