In Response to Facade, Cyber-Drama, and Emotion

I think mufasa has some good points here so I want to expand upon what he was saying.

First the “awkwardness” of the game.  This game felt awkward because it hit close to home.  All of us have been in situations where people argue or fight right in front of us and it can be a very awkward experience.  As Professor Sample mentioned in class, many people just want to have an audience, before they drop the “facade” in which they have been living and hash it out.  One interesting expression of this in the game is how many time trip and grace talked about the “truth”.  They wanted the truth.  They wanted the other person to tell the truth.  Their whole lives were really a big facade, in which nobody was fooled but everyone played along.

 

I believe this game was an awkward experience because even though we may not all be, hearts, in the game playing context we all have at least some sort of the heart in our style of play.  We care about trip and grace because we see them, (here is where the graphics add at least a little bit), and we want them to live happily ever after.  The breakup of interpersonal relationships is one of the hardest parts of our everyday experience and so we work to prevent it whenever possible.  We are all hearts to some extent, and we care about our avatar and the characters in the game and want them to succeed.  If we didn’t care we wouldn’t be playing.

 

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Facade

After playing Facade before, in, and after class it seems the only winning move is not to play. The easiest way to cause both of the characters to resolve their problems and make up is to walk into the room and sit down on the couch. It seems like this may have been designed this way by the creators to show that we cant always change things for the better, and that sometimes we only interfere in the scheme of things. It is also very enjoyable to interfere with the scene and cause different reactions to occur, since we seek to extract every last piece of the story out of the scene. Even if the story would be revealed to us in time, giving us the option to interact with the scene and possibly change the outcome causes (me at least) to push the boundaries of the environment to see what kind of changes I can affect. Again, the majority of the effects you cause are to make the couple split up, but the quest to improve their marriage and to make them happy drives us to try anyway.

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In Response to “Tomb Raider”

Although Schleiner used more intense words to describe Lara Croft than I would myself (see Rebecca’s post), I generally agree with what she had to say about this character. I think that Lara Croft’s body was made to appeal to a predominantly male audience of video game players. In other words, I don’t think the creators of Tomb Raider were thinking about female players when they designed the main character—or, rather, heroine. However, this does not mean that female players are not important or that they are disinterested in this game. Again, I just
think that the interests of male players were considered more so than females’ interests when the curvy, vivacious Lara Croft character was created. In contrast to the Lara Croft (some of us) know and love, I think that if female
players were the target audience for this game that Lara would be a bit more realistic (i.e. bigger waist, less cleavage, smaller lips, etc). Perhaps Angelina Jolie would not have been the model for Lara Croft…

To answer Rebecca’s question, I think the Tomb Raider series would be just as successful if Lara Croft was more average-looking as long as the main character was still a woman. I think male players would still be “excited” by the fact that they were controlling a woman, instead of a man as the main character. This would not be true, though, if the main character was a man, since the majority of video games feature males as the leading role. Thus, people wouldn’t feel any differently about the Tomb Raider game as they would with any other action-adventure game. Like we’ve said in class, Mr. Bean Tomb Raider would not have the same appeal as Lara Croft Tomb Raider.

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Feminists Reaction to Tomb Raider

Yes the title is correct and yes I am a dude.  But I did find the feminists reaction to the Tomb Raider game very interesting.  The quote I liked best was “Some feminists view Lara the female Frankenstein monster as a disturbing trend in computer gaming culture.”  So feminists are comparing Lara Croft to Frankenstein??  As a male I find that quite strange because I would consider Lara Croft (Angelina Jolie) the exact opposite of Frankenstein.  But I forget to take into account how this character looks to females and feminist groups.  “She embodies an impure history quite distant from the networked, non-individualistic and non-competitive, community oriented values being promoted by some cyberfeminists on the Internet.”  Wow that seems like a harsh statement at women but is it true?  I think when it comes to video games, yes it is true.  But I’m hoping thats not how feminists feel about the real world.  The article keeps mentioning how this game can be the first step for women to play video games.  For two reasons; one being that the main character is a woman, which is rare enough; two being that with the ability to patch games (edit some of its content), women can edit games to have new gender configurations.  The main character seems to always be a man which may cause women to automatically associate video games with men.  As we can see with the patch of Nude Raider, people know how to edit the content of the game.  I feel like women should come up with a patch that reduces the size of Lara Crafts “curves” to make a statement that females shouldn’t be a “fetish object of the male gaze.”

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Tomb Raider

In Schleiner’s article about gender and gender-roles in video games, she points out early on that before Tomb Raider, characters were “almost exclusively male, with the exception of the princesses offered as battle trophies…” and while Lara Croft is most definitely the heroine in her games, she is also, according to Schleiner, “an idealized, eternally young female automaton, a malleable, well-trained techno-puppet created by and for the male gaze” with “Barbie-like proportions”. I’m pretty sure we have all realized that Barbie does not look like your average woman, so why does this character, described as “a highly educated and adventurous upper-class British woman”, have similar proportions? Is it because people thought that the only way to sell a game centered around a female character was to have her look like that? And if she were less well endowed, would the Tomb Raider games be as successful? I would like to say yes, after all, gameplay would not change at all; the only change would be in the character design. Do you think the Tomb Raider series would be as successful with a Lara Croft that had a different body design? After all, the face of Tomb Raider would be the same, the game of Tomb Raider would be the same, the only thing that wouldn’t be the same would be the character’s proportions.

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Façade, Cyber-drama, Emotion

Once I got past the initial control awkwardness of Façade I was fascinated by the game. In the game the player controls a friend of a couple who has been invited over for an evening. The couple starts to argue, and the player is able to interact with the characters and change the development of the story. Façade was the first game to cause me to feel awkward. Because the game lets you say anything to the couple I felt more attached to the characters, and watching them argue was weird.

Façade had another interesting element. There was a story being played out, one that could be altered depending on what actions you take. There was no possibility for failure. The story may be different if you agree with one of the characters over another, and there are puzzles to be solved if you are going for a specific story, but there is no death and no failure.

Playing Cyber-drama is a truly novel experience. Prior to this I have played many games that have branching stories. The difference here is that the story was the focus of the game. Other games usually focus on game play and puzzles, with an interesting story laid on top, but that was not the case here. The story of this couple’s relationship was the most important part of the experience.

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What is the Perfect Game?

In Murray’s article, I strongly agreed with the idea that story telling comes before the game because as the author puts it, “storytelling is a core human activity.” We have told stories since the beginning of time and still do to this day, albeit in different forms. In my response last week, I talked about how I thought not all games had narrative, but most do and narrative often enhances the game tremendously. I think

Koster lists 7 types of people: linguistic, logical-mathematical, bodily-kinesthetic, spatial, musical, interpersonal, and intrapersonal. He also talk about the Baron-Cohen distribution curve of systematizing brains and empathizing brains, stating men were typically more systematic and women were typically more empathetic. He also mentioned that those with extremely systematic brains would be considered autistic, which I found interesting because males have a higher chance of being autistic.

Koster discussed the difficulty of creating of game with the perfect difficulty and the perfect design because people are different and they have different interests. Not only that, but people change. As men get older, they tend to lose interest in video games. He examines gender difference between video game players. I understand that all these gender declarations are generalizations and there are of course some exceptions.

He said that females prefer modeling social relationships with little spatial difficulty. Something I found interesting is that female tend to increase interest in video games after menopause. I would be interested to see the evidence behind that claim. Males tend to prefer complex topological games with strict hierarchies. Overall, I’d say these generalizations are pretty accurate. So with all these differences in people, how do you create the perfect game?

Koster later talks about how people who tend to break traditional stereotypes as children tend to continue to break these stereotypes as adults. He says this “argues pretty strongly that if people are to achieve their maximum potential, they need to do the hard work playing games they don’t get, the games that don’t appeal to their natures.” I completely disagree with this and do not understand how the first point argues the second point. First of all, many studies have shown that people excel at things they are good at and things they like. I would think that playing game that don’t appeal to their natures would decrease their productivity. Secondly, people who tend to break traditional stereotypes as children break those stereotypes because that is who they are and thus they are appealing to their nature.

 

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Video Game Pancakes

I found this blog tonight about a dad who spends his Saturday mornings making creative pancakes for his daughter. He posts pictures of his creations, and I thought you all might enjoy seeing these.

Tetris Pancakes

Pac Man Pancakes

 

Have a good weekend! 🙂

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IF Characteristics

1. text only (no ambient acts or graphics)

2. limited actions (player is limited by narrator’s (computer’s) vocabulary and programed options)

3. grid based (limits mobility and requires the creation of a map)

4. multiple outcomes (player encouraged/required to replay)

5. puzzles (player required to solve to progress)

 

-Katie & Nicole

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Things about IF

  1. Limited Mobility
  2. Use of a narrator
  3. Limited word choice
  4. Focus on wordplay and riddles
  5. Death.  Death everywhere.

James, Mufasa, Cameron, Jason

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Top 5

1) You must use specific words or terms in order to move forward in the game. There are many options, but a limited way to express these options.

2) You have to visualize the game more. There are no provided images, so you must conceptualize the game yourself.

3) There is an interplay between the narrator acting as a diegetic character and breaking the fourth wall to act as a non-diegetic program telling you what you can and cannot do.

4) You have to contemplate the game deeply. This isn’t a game you casually play for five minutes. You commit to the game.

5) These types of games are rather frustrating. The solution isn’t easily obvious and it is difficult to figure out where you need to go or where you need to go in order to win, or at least complete the game.

Brittany

Katie H.

Stephanie

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5 Characteristics

1) Adventurous Narrative

2) Verbal Regulations

3) Requires full examination of all elements.  Must grasp every detail.

4) Make your own world in your head with limited description given.  Must be creative.

5) Text based, no graphics.

 

Kevin Sinagra, Mike Mathews, Lauren Hubbard

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Colin and Chloe 5 ways of IF

1) Breaks the 4th wall.  Game interacts with player, frequently as opposed to player character.

2) No graphical interface results in blindness and a sense of exploration.

3) Gameplay requires creative thinking, visualization of game elements, and detailed record or memory.

4) User participates in creation of the story.

5) Requires extensive vocabulary and creative use of language to interact with the game.

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IF Characteristics–Hayley R, Meghan W, Ryan C

1) text-based

2) story

3) ambience acts

4) breaks 4th wall

5) actions limited by language/imagination

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List-Farah, Rebecca, Sonia, Lauren S.

1: Text based commands

2: Controller = keyboard, so many different commands

3: Takes place in a simulated environment/world

4: Different results from different commands (many possible storylines)

5: Always a puzzle that needs to be solved, but little is given to player

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