Columbia Game Culture

Theory By Design (Reader Response)

2006-05-02T14:13:00.000-07:00

The use of video games as a teaching tool is nothing new; actually it is far from it. The basis of education through interactive arts and media is what forms the foundation of video game ethics, in my eyes. Utilizing this philosophy of education, the article focuses on teaching “students” valuable lessons in a context that is more “user friendly.” The main reason why the majority goes uneducated is because the lessons they are supposed to learn are in a foreign context to them. By catering to a sense of interest through the medium of video games, designers are put in a precarious role of fabricating a positive experience for gamers.

Touching briefly upon the four titles mentioned in the reading, my synopsis is that all of these games are based off of real scientific knowledge, but presented in such a way that it is stimulating and engaging to the gamer. Weaving an illusion of interactive presence, designers fuel the creative fire that is engaged within the brains of gamers. The bottom line is the importance of being able to translate a message into something gamers will embrace and find provocative; despite the subject matter.

"Cultural Models" Reader Response

2006-04-25T19:50:00.000-07:00

The focus of the reading actually opened my eyes to a number of variables that take part in the development of a “hero”, or in this case, cultural model. The ambiguity of what can be perceived as a hero, depending on the motivation of the gamer, is constantly evolving. Depending on the disposition and point of view of a story, there is always a good or bad. The cultural importance of epic characters such as Mario and Sonic has a lot more substance than a number of real historic people that have come and gone. The responsibility put into the hands of a developer when it comes to character design is serious; putting a number of possibilities into the hands of the developer. These digital heroes project a variety of qualities, some of which are either good or bad depending on the point of view.
Despite the seemingly simple designs of such great characters has always been striking to me; how can such a following develop for something so simple? Simple may not be the right adjective for that; I believe it is “Relatable.” The fact that everyone can relate to Mario and Sonic is what makes them so popular. Offering a different view may open the eyes of most gamers, especially if the script was reversed. Despite playing as an evil character; you will put all of your skill into beating the game, simply because of your drive as a gamer. This driving force is what propels the interest that fuels gamers into countless hours of interacting with videogames.

Final Fantasy 3 (Game Journal Week 14)

2006-04-23T10:25:00.000-07:00

One of the main aspects that draw me into the fantasy of video gaming is a sense of humanity. A developed sense of empathy that allows characters to relate to one another in a dynamic way is what truly lies in the essence of gaming in my eyes. In the realm of Final Fantasy III, we are thrust into the role of Terra; a magic user shrouded in mystery. Throughout the game, Terra struggles with the fact that she has amnesia, and isn’t sure if she is doing the right thing by helping The Returners (an underground rebel faction focused on toppling the imperial empire.) This sense of confusion is something that we all can relate too, in one way or another. This relation is what connects me to the avatar; despite the fact that the graphics may not necessarily make me want to piss my pants. One thing that I’ve learned is that when you are limited, you are forced to be more creative. You must use intelligence to get around barriers, and seek different alternatives to draw in gamers. Consistency, innovative gameplay mechanics, and creativity is what drives these types of older games; and these are the exact reasons why I strive to participate in Game Design.

The Social Mind: How Do You Get Your Corpse Back After You've Died?"

2006-04-18T21:20:00.000-07:00

The sense of epic proportions found in MMORPGs allows us to bond with a surreal sense of avatarial humanity projected through the guise of contemporary digital media. This, in turn, allows us to filter our essence via the avenue of a digital self, that can interact with various other different forms of avatars, with obvious similarities: The fact that living, breathing human beings are responsible for the actions of the avatar playing out on screen.

This conveys a sense of random possibilities, that seamlessly never occur twice, despite the usually mundane, repetitive actions done to level up and evolve characters. This bond between the human mind is projected into various forms of stimuli- which can effect a number of algorithms found within the underlying context of the game. These types of games allow "users" to create a social structure of their own liking; which is a real living, breathing piece of existance. This is taken seriously by most 'hardcore' gamers interested in the genre; which only amplifies the ambitious minds of other gamers; causing it to spread like an insideous infection.

"Hyperidentities" Reader Response (Week 13 HW)

2006-04-18T21:07:00.000-07:00

This entire reading, as a whole, mainly focuses on the ironic connections between how MMORPG's mimic the monotony of real-life, disguised as a fantasy. I can honestly whole-heartedly agree with this connection; finding myself in ponderance as I proceed to do these chores in these games that I wouldn't concern myself with in real-life (such as destroying a certain amount of rats in a cellar, or finding every tiny fraction of the "Tri-Force" spread out through an entire world.) I couldn't help but laugh, falling victim to this ruse many of times in the past.

Also focused upon in this reading was the personal link between the avatar and humanity. Focusing on our own inadequacies, and how we compensate for them in the virtual world, I begin to understand the genius behind the minds that developed the MMORPG concept as a whole. Pulling people into a virtual environment, where they can exist as individual interpretations of themselves, allows a sense of freedom from the mundane nuances of reality..Or so we, as casual gamers, are lead to believe.

The passage touching briefly on Psychology interested me thoroughly. I've always been a fan of Carl Jung, and his ideas about archetypes, and I can see the link between the metaphroical study of "masks", and how they go hand-in-hand with MMORPG's. These 'masks' that we wear every moment we are in society, represent the metamorphisis of the avatar. Our link with our own sense of individuality is what draws us to the mythic worlds of MMORPGS.

-Joe

Final Fantasy 3 - Game Journal (Week 13)

2006-04-14T13:25:00.000-07:00

What really makes something believable? In my opinion, it is simple: what we can relate to always draws us closer. In this sense, I feel that humanism is something that we can all relate too; which binds us as a people. This pertains to relationships, and how we interact with one another. Feelings, emotions, and humanism is what makes us what we are; and if we can see that delicate balance in peril for anyone else; we instantly feel for them.

I feel that this is one of the primary aspects that draw me to the RPG Realm. In today’s day and age, not many people really give a shit about who did what to whom, and how it affected him or her. Today’s consumer is more interested in pick –up and play titles that take little or no time to invest time in. Fast moving, flashing, bright colors is what draws the eyes of consumers in today’s market, which is a shame in my eyes.

As a game design/development student here at Columbia, I feel that it is my mission to bring it back to the essence. Creating a living, breathing environment that envelopes the user into a world where he/she can enjoy the romanticism of escaping from everyday monotony.

The more I play FF3, the more I realize that it isn’t necessarily the technology that you are developing doesn’t really reflect the success of a game: More importantly, it is based upon well-thought execution.

Who would of ever thought that someone such as myself, that always has the new console technology the day it comes out, would be using my X-Box 360 as a footrest, while I relax and enjoy the realm of Final Fantasy 3, on a SNES Emulator? I sure as hell never would of, and that is what leads me to this revelation.
The reason I want to make games is to give other people the feeling I had when I play/played games such as FFIII. The sense of depth and interest that is void in most of the titles in this day and age.

Final Fantasy 3 - Game Journal (Week 12)

2006-04-14T12:55:00.000-07:00

Under the guise of the avatar Terra, who happens to be a magical user in a world where magic is only a distant fairytale, we are thrust into the world of Final Fantasy. Within this realm of fantasy, we see an empirical ruler attempting to dominate the world through brute force and domination. Emperor Gestahl, along with the rest of his army, are on the search for Espers. Espers are basically arcane keepers of magical knowledge, in which this tyrannical leader plans to harness the power and use it for his own ill-use.

The story starts out in the village of Narshe, which is where the current Esper is located. As Terra, along with Empire guards Vicks and Wedge, your mission is to retrive this Esper by any means necessary. As the villagers attempt to defend themselves, you must destroy all opposition and retrive the Esper.

Terra is forced to work for the Emperor Gestahl via a "Slave Crown" that pacifies her and renders her unable to reason right from wrong. As we come into contact with this Esper, we notice a kinship between Terra and the Esper, which wipes out everyone besides the two.

Terra soon wakes up inside of a bedroom in Narshe, with the slave crown removed. She appears to have amnesia; not really knowing anything, her past now shrouded in the intangible veil of mystery..

Is Terra the missing link that will bring everything back to prosperity, or is she a pawn of the Empire? As I continue to delve into this title, nothing is for sure- Should I side with the Empire, or the Returners (a group of underground rebels)?

Final Fantasy 3 - Game Journal (Week 11)

2006-04-14T12:48:00.000-07:00

After finishing Indigo Prophecy, I decided to take a new approach to this game journal. I'm not really one for flashy graphics and cutting-edge technology; I've always gravitated more toward substance, consistency, and originality. Because of this simple fact, I will almost always choose an NES, Sega Genesis, or Dreamcast over this new technology (X-Box 360, PS3, etc.) A great example : My X-Box 360 collects dust, while I revel in the universe of Final Fantasy (III to be specific) on my PSP.

I've always had a soft spot in my heart for the realm of RPG's. I've always been attracted to the depth of character development, story, and creativity. With today's titles, we see more reliance on graphical persusaion and flashy technology then what we really yearn for : A well-developed and executed title that allows us to dream.

With that being said, I delve into the world of Final Fantasy 3 with the intent on once again saving the universe from evil incarnate (Sephiroth, Kefka, etc.) As the "retro" graphics and sounds begin to assault my senses, I feel a sense of nostalgia. I feel at home in this world, where all is well thought out and executed. Without the ability to lean on graphics and flash, you begin to realize that you must develop excitement through other means.

I've always enjoyed the challenge of limitation- which forces the directive mind to think outside of the box, usually rewarding gamers with something totally different and great.

Out with the new, in with the old.
If you are ever wandering around Figaro desert, keep in mind that somewhere underground inside the submerged Figaro Castle, you will find me- along with the rest of my party, getting ready to save the world.

-Joe De Urso

Indigo Prophecy - Game Journal(Week 10)

2006-04-05T11:11:00.000-07:00

A quick disclaimer before I start this post : If I start to remotely lose interest in something, I immediately move to something else. Life is too short to toil away at something, when you know for a fact that there are better things out there.

With that said, lets move on.

Indigo Prophecy is really starting to piss me off. At the beginning, I guess I really didn't notice it because I was enamored with the game itself, but this game is basically a well-disguised game of 'Simon Says.' Riddled with pointless algorithms that contribute nothing to the flow of the story (such as having to wheel old ladies around in a wheelchair, feeding birds, and lighting candles), this game suffers from a somewhat repetitive formula.

The one thing I can appreciate about this game is the cinematic feel, and how each aspect of the player effects the other players, but as far as keeping my attention.. Sorry.

I would maybe reccommend this game to the casual gamer who doesn't really understand or care about the mechanics of game design, but as far as anyone in our league... Not so much.

Indigo Prophecy -- Game Journal(Week 9)

2006-04-05T11:02:00.000-07:00

Indigo Prophecy - from the programmer's point of view.

Despite my aggression toward the grueling semester I've been having at Columbia, in retrospect I can say that what I have learned so far has influenced all aspects of my thought process. While I am playing through Indigo Prophecy (which I have only been doing in small incriments, thanks to the lifestyle of a starving artist/college student) with a fresh take on the actual mechanics of the game.

Based mainly on hand/eye coordination and reaction, as well as seemingly free-roaming environments, Indigo Prophecy does a great job at weaving the illusion of non-linear freedom. This is done through the narrative, the story development, and most importantly but least recognized, the programming.

Referring back to my ignorance on the subject before my studies here at Columbia, I can honestly say that I never really gave a shit about programmers. On the contrary, I have developed friendships with these same programmers, and through this relationship I discovered a new point of view.

In my opinion, programmers are the people that give the creative people (myself) a workspace, or box. The expertise of the programmer as well as the technology is ultimately what generates the area, or parameters of the box that us creative types get to 'play' in. These programmers are the people behind the scenes, who deserve the most credit, but seldom ever get any.

As I play through Indigo Prophecy, I am beginning to see it through the eyes of a programmer, thanks to Intro to Programming and Mirella Shannon. The only way I can describe it is similar to the contemporary Matrix series. Seeing through the eyes of a programmer is much like how Neo begins to see through the illusions of falsified reality and sees reality for what it is- the Matrix.

"Virtuality and Its Discontents" & " Identity Crisis"Reader Response

2006-04-03T21:16:00.000-07:00

The one thing that is most important to dedicated MMO fans is a submersive world complete with it's own sense of civilization. Gamers linked by taste in turn look for a subculture within the MMO that allows them to communicate and co-exist within this paradigm. Some would say that an MMO broken down to it's bare bones is an interactive chatroom. While this is definately an aspect in the sense of communication and dialogue, one must also realize the importance of gameplay; more specifically : consistency and a reward system equal to difficulty of missions. All of these things wrapped together is what an MMO is supposed to be: an immersive environment that allows gamers to romanticize alter-egos in the guise of a fictional world.

This sense of immersion allows gamers to feel a sense of community and purpose, which would mirror our own world, but in a paradoxial fashion. It seems that what would be everyday interaction between people would seem boring; but tantalize the tastebuds of gamers with a fancy and appreciation for video games, and you would have a thriving community existing through the wires of cable that virtually connect us all.

As We Become Machines: Corporealized Pleasures in Video Games --(Week 10) Response to Reading

2006-03-15T09:55:00.000-08:00

The link between gamer and game environements can sometimes be blurred. Take in for account, those of us that *fall into* the virtual world of a particular video game we are playing. Those of us that emphasize movements of our "cyborg-likeness" on screen by bobbing and weaving while attempting to evade enemies. At one point or another, we all have fallen into this category, whether we care to admit it or not.

This intangible link is basically one of the main jobs of a game designer to accomplish; to be able to weave a world and characters so well into the minds of the gamer, that the gamer literally forgets the fact that the game is really just a game -- and that all they are doing is acting out pre-programmed features created by a team of designers, for the sole purpose of enjoyment via the gamer. The ability to keep the gamer indulged in a game is rather difficult, as a matter of fact, the main reason why I stop playing certain games in the first place is because I can't really associate with the character I am controlling; nor can I customize him in ways that will reward me, as a gamer, with different attributes that effect my character. This kinetic bond allows gamers to associate, and through a well-planned way, humanistically bond with his/her character in the gaming environment. This bond propells the gamer to play on, simply because he/she is interested in the welfare of the character, and the subsequentual plot of the story.

Stories for Eye, Ear, And Muscles: Video Games, Media, and Embodied Experiences (Week 10 HW)-- Response to Readings

2006-03-15T09:06:00.000-08:00

This reading has a lot to do with the development of a story, and how each different aspect of a story (such as narrative, event driven, player controlled, etc.) Breaking down the mechanics into metaphorical 'lego building blocks', we begin to see the distinction between how different types of stories can lend themselves to different principles, referring to the 'lego building blocks' mentioned earlier. This in turn effects the gamers' experience within the virtual world -- and how we (as gamers) percieve the universe in terms of freedom).

The reading goes on to discuss how we, as gamers, respond to specific situations in video games, such as the repetitiveness of completing areas that are difficult for us to algorithmatically solve. It also goes on to compare the differences between a running narrative (film-esque) and a user-driven environment (video games.) This section of the reading allows us to understand the psychological aspect of how gaming effects us, along with how each different type of game (FPS, RPG, 3rd Person Adventure, etc) has different approaches in creating the illusion of freedom to a gamer.

Comparing film and video games as a reference point, we begin to see the similarities between the two -- but we also see how video games are surpassing films in the sense of user interactivity.

Everything Bad Is Good For You (Week 8 HW)-- Reader Response

2006-03-11T10:59:00.001-08:00

"It's not what the player is thinking about, but the way she's thinking." (p60)

In all honesty I can say that this book indulges the reader with realistic ideology that fortifies the reasoning behind gaming principals. Although I was thoroughly interested in the read as a whole, especially with the concrete aspects of gaming (such as telescoping and probing), I will mainly focus on what I found most interesting: not what we do to solve "puzzles" in games, but the act of DOING it as an activity. The actual *THOUGHT* process, and how it mentally challenges and sharpens our logical stimulus. This process is what ultimately rewards the gamer, in not only a sense of accomplishment, but also in the sense of chemical distribution in the brain.
Offering gamers the opportunity to logically solve problems in a number of algorithms gifts them with the skill of critical thinking, and thinking outside the box. This strengthens the gamers ability to survive in the *REAL WORLD* when problems (not similar in form, but similar in nature) arise. Similar to the reason why we learn Algebra (also noted somewhere in the reading), it's not necessarily the ALGEBRAIC EQUATION that is important -- its the mind-power that is put INTO solving the problem that is key.

From Games to Players and Gameplayers(Week 7 HW)(Response to Readings)

2006-03-03T11:54:00.001-08:00

Based on the metamorphisis of player-involvement throught the history of game culture, we track the lineage of user-enabled functionality in these readings. The strongest aspect is creating a believable illusion of interactivity for the user. Finding the balance between giving information that is crucial to the story and involving the gamer is difficult; one without the other is useless, while too much of either can tip the proverbial scale.
Falling into particular regions of context, the depth of immersive interactivity varies greatly. You must take intop consideration the genra, context, and style of the project. Only from there can you even begin to judge the level of commitment necessary to function in a game. This ideology fortifies the possibility of variety found in games in general; all having different reasoning behind them.

Simulation vs. Narrative (Response to Readings)

2006-03-03T11:51:00.000-08:00

Focusing on the different mechanics found in simulation and narrative, we are introduced to ludology: the disipline that studies games in general, and video games in particular. Breaking down the elements of both, we can begin to draw a semi-clear distinction between the two. With the simulation focused more on giving the gamer an individual experienced based on perceptive qualities, the ideology of creating "tools" for the gamer to manipulate in the game world becomes more believable.
Narrative is based on a more story-driven criteria, treating the gamer to a cinematic "interactive movie". Linear by nature, this comes with compromise: Limiting the algorithmatic formulas to problems in the game world. Usually driven by an array of breath-taking graphics, these types of games rely heavily upon a well-written story/narrative that can create the illusion of a seamless gaming experience.

Game Journal: Indigo Prophecy (Week8)

2006-03-02T08:12:00.000-08:00

Once again taking control of Lucas Kane, we find ourselves on a dusky street, in an attempt to find the home of this mysterious character your brother (Markus) has offered as a possible answer. As you wander the snowy streets in search for this house, you can begin to understand the attention to detail found in this title.
In reference to the "Space in the Video Game" & "Immersion, Engagement, and Presence" readings, I can thoroughly relate the mentioned principles reciprocated in this title. Utilizing multiple views, innovative camera angles, and a fresh look at cinemtography and how it relates to games, we find quite the package in "Indigo Prophecy". A non-linear adventure/mystery with you as the writer/director/actor. You control everything, down to how conversations dictate; and how characters treat one another.
Throughout my 20+ years of gaming, I can honestly say that I've never really played a title like this. Don't get me wrong, critically analyzing this game with the knowledge attained from Game Culture, I can definately see faults (such as shocks, liner aspects at time, etc). With that aside, and with a fresh mind-- Going into Indigo Prophecy with an open mind rewards the gamer with a new look at games, and a fresh breath into the culture.

Game Journal: Indigo Prophecy (Week 7)

2006-02-28T08:05:00.000-08:00

This section of the game takes a major twist, bringing the story into a more supernatural/sci-fi realm. We find Lucas Kane at work at an office building downtown as an office tech (computer guy). While at work Lucas begins to see shards of the future through disturbing visions and hallucinations.

Enter :The aforementioned sci-fi twist. Apparitional manifestions of humungous parasitic beats begin to relentlessly assault Lucas. During this secene in the game, you must navigate Lucas through the environment via the "Simon" mini-game. The intensity level skyrockets -- reaction time, coordination, and disipline are a key to survival as you evade these attackers similar to a Matrix film. After this cinematic-styled action that would rival any contemporary Hollywood motion picture, Lucas finally succumbs to the spiritual invaders... only to have actually fallen into a catatonic state in the hallway, being awakened by his worried co-workers.

Utilizing the vintage 1980's boardgame "Simon" as inspiration for the mini-game, the user must navigate a similar interface where they must match up color and direction with both analog functions in correlation to the on-screen prompt. Remaining unpredictable and dynamic, this scene of the game fulfilled a hunger for unrelenting action. It kept my heart pumping as I watched Lucas attempt to evade these spiritual parasites. After this scene, Lucas meets his brother Markus again- Markus offers his brother emotional support, as well as a possible answer in the guise of a mysterious old woman.

"Immersion, Engagement, and Presense" Reader Response (Week 6 HW)

2006-02-28T07:58:00.000-08:00

Based on the basic fundamental aspect of designing a virtual world, focused more specifically on immersion, engagement, and presence; we can begin to appreciate the metaphorical "blueprint" in regard to a 3-D video game environment. Assuming the responsibility of designing an immersive 3-D environment would be a daunting task at best, demanding creative imagination. Reflecting on the fundamental concepts of design, we must realize that this job would involve many facets of creative endeavor. The act of creating a believable environment would involve a number of variables, hopefully coupled with an innovative algorithm that breathes new life into the industry.
Using other games as examples, we are given the positive and negative aspects on both in an attempt to inspire our individual creativity. After experiencing these collected readings, I have learned one overall lesson: The more you think you know, the more you realize you don't.

"Space in the Video Game" Reader Response (Week 6 HW)

2006-02-28T07:55:00.000-08:00

This reading discusses the intangible relationship between spatial parameters relating to film and video games as a medium. The understanding of utilizing space in ways that are acceptable and navigable by an audience seems to be the main key. We begin to understand the sometimes subtle, but usually obvious, differences between film and video game (most notably budget and physical constraint). Practicing this ideology in the world of video games, we soon learn that in this visual medium the sky is the limit. What can be produced in the mind can be reproduced via the avenue of creative control (in this case, video games).
With this thought in mind we are privy to a host (eleven) of different gaming environments, more specifically: spatial composition and design. These diverse techniques allow us to comprehend how to achieve this illusion of design, and use it to benefit our own work in the field. This begins to open our minds to a new way of critical thinking, that will allow us to evolve as game designers.

Game Journal: Indigo Prophecy (Week6)

2006-02-24T10:09:00.000-08:00

After dealing with the police, we assume control over Lucas Kane - whom is in a public park, assumably to meet his brother Markus Kane. Upon the meeting, the gamer dictates the flow of the conversation on both sides- controlling both Markus AND Lucas. This effects the dynamics of how the brothers treat each other, and the perception of religious faith they share. Depending on the flow of the conversation, your brother is either with you or against you.

As you leave the park you have an intense vision of the future - a little boy falling through the thin ice of the pond in the park. While you ponder saving the child, the very officer that had seen you at the diner the night of the "Doc's Diner" murder. It is up to you (the gamer) to decide whether or not to risk it all and save the kid, or flee the scene undetected.

I chose to save the kid: recklessly diving into the freezing depths of the pond, and pulling him out to safety. Without hesitation I proceeded to utilize CPR techniques to save the boys life. Now deemed a hero, the eyes of the police officer meet yours. "He knows... but he says nothing." It seems like a reward, as you exit the scene you can't help but notice a crow following your every move; which is beginning to develop consistency in the game.

Game Journal: Indigo Prophecy (Week5)

2006-02-16T10:32:00.000-08:00

Deciding to choose the path of Valenti, we soon arrive at the police station. After a warm greeting from the security guard, Valenti is left under our (player) control. With the focus being to go to her office, the player can explore and interact with the in-door environment as well as a couple of NPC's. This allows us to gain insight on less important characters, and collect "bonus points" which unlock supplemental content in the 'extras' section.
Upon entering the office, her first duty is to call Miles, her partner, for a wake-up call. Shifting gears to Miles, we begin to understand his personal life - being awakened by a somewhat annoyed Valentia via telephone. This allows the player to dictate the course of Miles' life - whether it be personal confidence, or his conflicting relationship with his worried girlfriend. At your own pace, you are free to explore Miles' apartment. Heading over to the precint, Miles must keep an appointment with a witness involved in the "Doc's Diner" case. The gamer is now given a series of options (under the avatar of the witness) to produce the likeness of Lucas Kane (the killer/main character) via the avenue of a police sketch/wanted poster. Depending on the player, you could either describe the murderer accurately; or you can be off the mark and be inaccurate. I got it %25 accurate, simply due to the fact that while playing as Lucas, I didn't even converse with her prior to/after the murder. Which leads to an innovative gameplay aspect- reflecting choices made earlier dictating the events to follow.

"Playing at Being: Psychoanalysis and the Avatar

2006-02-16T10:23:00.000-08:00

After learning extensive history on the evolution of the avatar (from the birth in Spacewar! and the pioneering assets of the Quake series), I begin to realize that things we make take for granted now in the video game industry, were not always this way. To truly understand something, you must analyze it thoroughly; and my eyes have now been opened to new appreciation for the very existance of the avatar.
Having my own personal interest in psychology, it was interesting to learn about all of the schematics that deal with avatars and how we percieve them as people. Metaphorically associated with mirrors and reflection, the basic understanding of how we associate ourselves with our on-screen self-projection allows us to associate the diversity and textural marvel of how a human mind thinks.
Playing on various aspects of participation and spectatorship, one could associate the essence of the avatar to the emotional 'masks' we wear in society- to remain respectable, not show weakness, etc.. I personally feel that we all are our own avatar, no different from being in a chatroom, or running around on an MMORPG- This projection of yourself is what allows you to have a voice, and be individual in a world full of conforming masses.

"Archetypes on Acid" Response to Reading

2006-02-16T08:32:00.000-08:00

While reading this article I couldn't help but feel a certain kinship to the principal aspects mentioned. As mentioned in the beginning of the article, in my own experience, I can say that the engagement of a "group activity" such as gaming definately strengthens the bond between "theoretical" man and child. When I was a child my father used to (and still does) work an exhausting number of hours a week- which translates to me never really seeing him too often. What eleviated this was the fact that every night we would play video games, whether it was Legend of Zelda, Mario, or Castlevania, it was always a bonding experience that strengthened our pivotal father/son relationship.
Touching upon Jung's Archetype research, I can say that I've had the pleasure to research some of his own work (for personal and professional gain), and in agreeance to his notions, I'd have to say that we all share these similarities (both theoretically and ideolistically.) The way "Video Games" in general are percieved is outrageous and unfair; a more professional scientific look into the actual mechanics of the subject is what should truly be stated. In other words, if you go into an experience looking for something bad, you will *ALWAYS* find it -- if you look into something with an open mind, you might possibly be able to differentiate what is negative and positive equally, and fairly come to your conclusion.

-J De Urso

Game Journal: Indigo Prophecy (Week4)

2006-02-10T15:10:00.000-08:00

After successfully covering up the clues from the murder you had just commited the night before, you open the door to your apartment; which opens an entirely new sequence in the game. Do you let the police officer in to look around? Do you calmly tell the police officer to follow procedure and get a propper serach warrant? Or do you tell him to get lost and go fuck himself? Again - this is all up to the user, and depending on how you react -- you are given a variety of options. These options all build upon one another, and relate to the story in every possible aspect; especially when you arrive to a scene where the other characters you were controlling earlier had effected the scenerio.
I personally chose to let the police officer into the apartment, and allowed him to search -- this actually raised my character's morale, simply because the officer wasn't very suspicious of the crime I had committed. After a once-over in the apartment, and asking a couple questions (which I lied and had said they were from an accident with some broken glass), the officer was on his way. This gave me a little time to interact with the surroundings of the apartment, which all have different benefits and negative results -- For instance, drinking some milk out of the fridge will raise your health; but looking at the newspaper headline referring to the crime you had just committed will lower your health.
Upon leaving the apartment you are given a choice of two paths -- either following Lucas Kane (the main character) or Carla Valenti. I personally haven't made my choice yet -- I prefer to take time and think about what I should do. I'm leaning on following Kane's story, but Valenti has this thorough aura about her that is infectious. Until next week -

Joe De Urso

Response to Reading (Week 4 Homework)

2006-02-09T17:57:00.000-08:00

As the technological age continues to evolve we find ourselves in what one could argue as the “Virtual Village” age; simply meaning that with the aid of the internet, distance no longer exists (virtually, that is.) As we delve deeper into this virtual world, we tend to characterize ourselves in not the ways we are in reality, but how they themselves would prefer to envision themselves. Similar to how we react in society, we all wear a metaphorical mask that shields our true insecurities, faults, and fears. Relating this to the virtual world, we tend to fall into our “characters” in a way that could be mildly be described as obsessive. An extension of yourself both mentally and emotionally, these characters are a basic virtual citizen in this virtual world. In other words, what happens to them – in a sense – happens to you. Relating to the “Rape in Cyberspace” article, I felt merit in how seriously well fortified the on-line community was in that particular sector of cyberspace. The repercussions pertaining to the crime, such as the welfare and psychological conditions of the victims, and the anger and outrage of the rest of the community, were justly so. Although a literalist would argue that it is only a “scatter of text” on a monitor, those of us that are part of this “Virtual Village” see differently. GAMETIME: History, Narrative, and Temporality in “Combat Flight Simulator 2” Using historical references pertaining to the computer software development, we are being subjected to the history of metamorphosis of combat related video games. Delving deeper into the software development aspect, we soon learn that the first graphical video games were indeed flight simulators used for extensive research in the military, as well as an inexpensive way to train pilots. These simulators allowed users to learn the detailed information pertaining to their goal in a virtual space catered to the challenge, complete with any form of aesthetic value to vividly re-create the environment. Discussing the narrative, the development of how the narrative at one point took control of the flow of a game, leading the gamer into the main focus of the game. We begin to see a shift in the more traditional elements of the narrative, which is soon replaced with CGI big-budget effects. These effects in turn monopolize the narrative, due to the flashy futuristic flourish of the new technology of the time. Temporality, referring to how the repetition of “game play” is simulated as over-lapping; allowing the gamer to learn the specific algorithms necessary for success in any criteria of goals programmed into the game. This would explain why supplemental material that may outstretch the time-line of the game in subtle, albeit hidden ways. In response to this reading I believe I am leaving with a more clear understanding of the concrete support of gaming in the past (late 80’s). Without the aid of eye-candy and enhanced graphical software, they were forced to rely on more fundamental aspects of the game – given what they were have; using imagination as a vehicle for the ultimate form of simulation.

Game Journal: Indigo Prophecy (Week3)

2006-02-09T17:54:00.000-08:00

After a lengthy investigation, depending on how you approached the witnesses and handled the situation in the beginning of the game, you awaken as the main character in his apartment. It was all a nightmare... until you notice you've slit your wrists and blood is all over your apartment. A shitload of evidence linking you to the crime linking you to the "Doc's Diner" case is strewn all over the apartment, and it is up to you to cover it up. With a mind full of questions, their is a sudden knock on the door; the police. What do you do?
This section of the game introduces an intense recurring theme of the game: urgency. While the police officer tells you to open the door, you are forced to act quickly and cover up the evidence before the cop is forced to break the door down -- in essence, you are timed via a convenient meter on the HUD. Apparently, you need to remove all traces of the evidence and appear normal before the cop is forced to smash open your door -- If you fail to do so, game over.

Response to Reading (Week 3 Homework)

2006-02-09T17:48:00.000-08:00

Joe De Urso
Week 3 Assignment

Fair Play?
Violence –
Violence, for the sake of violence, may seem overkill; but what do we call violence that is a means to an end? Violence can be a funny subject, especially if we semiotically analyze it in reference to the modern-day fairy tale, cinema, and most importantly; the standard that birthed the very country that we all take pride in. Defining violence as a more intangible entity similar to an emotion such as happiness and sadness, it would be hard to disagree that we encounter violence every day of our lives. Competition amongst society breeds violence and contempt, and after all, isn’t life a huge competition? Aren’t we as students in the midst of competing with other students?
With that being noted, I would like to suggest my own opinion on this aspect of the article that is riddled with propaganda-esque statistical analysis. One thing I learned in math class is that statistics can be catered to convey a certain message, and without the need of pointing fingers – I feel that this article is a tad bit.. one sided. Yes, I do agree that excessive violence can possibly be detrimental to the development of a young mind, especially when it comes to acceptance and desensitization of violence. You must also keep in mind that the games that do contain excessive violence are catered for a more mature demographic of gamers. The reason for excessive violence in my eyes is only part of the fantasy that us gamers romanticize with as we drift into the world of gaming. Keeping these “adult-oriented” games out of the hands of impressionable children should be the parents’ responsibility – not those that create this art-form.

Gender –

Without a doubt, I agree %100 with this portion of the article. The exploitation of the female body (thanks to media in general) not only destroys the morale of females who do not have the unique genetic makeup to naturally look like these females in Hollywood, on television, etc., in addition it falsifies this ideal of what the modern woman should be modeled after. This devastating reality is bridged into the video game world; offering us characters such as Lara Croft, the DOA girls, etc..
This type of female model not only would offend, but it would outrage someone whom has any sort of grip on what reality has to offer. Don’t get me wrong, I do believe that video games are an extension of fantasy, but to exploit and degrade an entire demographic because of their sexuality is downright criminal. With the way both sexes are perceived, I feel that males also get the short end of the stick – these stereotypical standards being over-saturated into the market only proves one thing to me: lack of intelligence.

Games for Girls –

As I read this article I came to grips with the reality in it; but I also do not totally agree with it. In response to games being catered to girls, I do agree that they don’t necessarily get an even feasible amount of games tailored to them (specifically). Honestly, I feel that when a game is created, its not necessarily designed for any particular sex when it comes to marketability – I believe that a game is perceived by the public in a wide variety of ways. Considering we all have our own minds, beliefs, and opinions, we should be able to reasonably deduct our likes and dislikes with a product. Face it – not everyone is going to like everything; that cannot be changed. In a whole I believe that this is a blatant challenge to game designers, to create something that provides equality for both sexes.

Race –

Any time race is brought up it must be treated as this delicate, taboo subject. That seems to parallel with video game “Racism”, which, according to this article, is overly prevalent. I believe that unless you really can understand something, inside and out, you really cannot accurately portray it. Basically, you can’t have the essence of a black person unless, theoretically, a black person shares creative vision. Without insight, you cannot operate and expect to sell false authenticity to customers.
When I look at games in general, I do tend to stand with the fact that racism is indeed a factor in video games. Although I don’t agree that it is as critical as the article suggests, I will concur that it exists. For the benefit of the doubt, I’d offer up the possibility that this was not being done personally, but then again; as mentioned earlier – you can’t really understand something unless you truly experience it, and I wasn’t there when these characters were conceived.

System Comparisons –

It was interesting to read about how the different consoles supported various forms of content discussed in this reading – breaking it down to the bare bones allows you to analyze and compare the systems in general. When I personally compare systems, I don’t necessarily look at these mentioned criteria; I prefer to look at the console specs, performance, and availability for “console exclusive” titles. Without the risk of lying, I will admit that although graphics do have a determining effect on contemporary video games; I will proudly say that I prefer the more traditional old school (NES/Genesis/etc.) consoles strictly for game content and nostalgic value.

It’s a Queer World After All: Studying The Sims and Sexuality–

Sexuality is something that I believe should only matter to the parties they are particular for. My own beliefs are fairly simple, I treat everyone equally because of the simple fact that I’d prefer to not be treated like shit because of a choice or practice I prefer to take part in. I feel that in analyzing “The Sims” that we must realize that being politically correct and representing all facets of life just can’t happen. Touching upon the basic “save the princess” plot, we learn that this formula has been reincarnated time and time again, while seemingly blatantly leaving any sort of homosexual attributes in the shadows.
In bringing up “The Sims” we are imposed upon by the open-ended game play that allows us to delve into countless activities. The value of such a game allows the gamer to dictate how his/her sim goes about daily life in the virtual realm. Without any preconceived notions or subliminal sexual slander, you are open to a world where what you say goes, basically. Focusing upon the aspect of the “reality show” boom, as well as the unpredictability of everyday life, and the obvious affinity for voyeurism, the sims allows us to not only witness a form of “sitcom” entertainment; but control it. In a serious attempt to remain p.c., we seem to be at a loss when certain activities pertaining to homosexuality, racism, and realism are hampered. Again- these underlying tones of what would at face value appear to be malicious in thought, yet we cannot truly specify the true intentions of the designers.

Game Journal: Indigo Prophecy (Week2)

2006-02-09T14:17:00.000-08:00

GAME JOURNAL
week 2

After escaping the scene of the crime via the subway, we are introduced to two new characters: Carla Valenti and Tyler Miles, both being NYPD detectives. Working what is now referred to as the “Doc’s Diner” case AKA the murder you had committed earlier. The dynamic aspect of chemistry between these two characters play a vital role in the humanism of the game. Reflecting back upon our preconceived notion on body and gender roles in video games, the two characters play the basic role of Miles (the street-smart brother from the hood) and Valenti (by the book respectable detective.) Naturally, both characters react differently, have different dialogue, and approach NPC’s differently. Again; Miles being more brash and pushy while Vanlenti is more receptive and observant.

As you examine the scene of the crime, you are criticized by Carla about mishaps during the escape of the crime scene- such as mopping up the blood or engaging in revealing dialogue with the diner patrons. The freedom given to the player is seemingly endless: you feel like a cup of coffee? Harassing the witnesses? Once again: it is up to you.

Game Journal: Indigo Prophecy (Week1)

2006-02-07T20:44:00.000-08:00

Game Journal
Week 1

Indigo Prophecy

A stranger has been stabbed to death. The killer is you.

I first became interested in this game because of how hard it was (& still is) to obtain. I went to every single game store in Jersey and NY, and the Tri-State area. Couldn't find it, but was always told I would love it. I never asked why, every time I tried nobody could describe it-- they all told me the same thing : experience it. Now is the time -- and it will be documented here for Game Culture.
The narrative begins- our main character ,Lucas Kane, murders a man in the bathroom... clearly in a trance-like dream state. After the stabbing, you are left to deal with the situation. This is when playtime begins... do you methodically clean-up the crime scene? Do you get the fuck out of there without paying your bill? Therein the beauty lies.
I now begin to see the potential in this title, as well as the vast replay value. Every little minute detail can alter the course of the game. So far I've only played the game for about half an hour, and I've already watched someone else play, too. The cinematic appeal of this game is truly emphasized by the writing and creativity.

Responses to the Readings

2006-02-07T20:08:00.000-08:00

Semiotics for Beginners

The essence of this reading lies in the intangible relationship between subliminal (or not so subliminal; sometimes blatant or purposely) and how we perceive them. This relationship known as Semiotics is the belief in being able to “read” these signs/signifiers and come to a rational conclusion evaluating the main focus of that particular stimuli. Through dedicated hard-work and study, the fore-fathers of Semiotics (de Saussure, Lotman, etc.) created the blueprints to the modern day study/interpretation of Semiotics.

“This is not Magritte’s Pipe”
(Painting/graphic associated with readings.)

This, in a nutshell, is the essence of semiotics in any sense; simply showing the viewer what they would perceive as a pipe – with the line stating the opposite – “this is NOT a pipe.” Semiotically linked to how we naturally experience things, and whether or not we choose to utilize the mental aptitude to break these signs down into theoretical perception. The artist clearly has a purpose, and that is to challenge the authority of what is supposedly “known” to be an ideal, simply by semiotically altering the pre-conceived thought process of the viewer.
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Abstraction in the Video Game

Based on the premise specified in the reading pertaining to analyzing video games as a medium of visual imagery, the metamorphosis of abstraction to realism is well chronicled. Relating the history of abstraction in video games based on the primitive level of technology to the Stone Age, a strong appreciation for the precursors of what we experience as video game entertainment is established.

“In the earliest video games, the player-surrogate was function-based; instead of an anthropomorphic character, the player was represented on screen by a graphic of a tool or vehicle that the player controlled.”

Beside the obvious visual implementation as technology expanded, we begin to notice the separation of what was once abstract to something referred to as player-character subrogation. This separation bred a new milestone for video game evolution, which triggered around the time I began to experience video games as a youth through the NES. This basic element of video game development has remained consistent throughout the evolution of gaming in general. Despite graphical advances and a taste for what is cutting-edge, in essence all things remain the same, the only difference is how well they are portrayed to appease the public need.
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Semiotic Domains

This reading begins to define various angles of how core values are built through the association of video game playing, and how various forms of context are used to explain details or instructions pertaining to any sort of subject intended. Reflecting upon how we really can’t understand the context of something unless we can formally relate to it in one degree or another; we must understand the basics before we can master an entire plan. In relation to how semiotic symbols are associated with theoretical substance, we can begin to understand something as a whole.

“However, if we want to take video games seriously as a family of semiotic domains in which one can learn to be literate, we face an immediate problem.”

In reference to how a generation gap may fracture semiotic domains referring to video game playing, you must take into consideration all of those that frown upon video games in general. If you cannot wholly appreciate the very mechanics that breathe life into something, how are you supposed to appreciate it as a whole? For those who could care less about the semiotic values found in games could never really understand the valuable relationship between how each part of the puzzle relates and compliments one another.