heymanshoot

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Critical Analysis

Perreault, M. F., Perreault, G. P., Jenkins, J., & Morrison, A. (2018). Depictions of Female Protagonists in Digital Games: A Narrative Analysis of 2013 DICE Award-Winning Digital Games. Games and Culture, 13(8), 843-860. (ACCESSED ON 08-01-2025)

https://doi.org/10.1177/1555412016679584

The research paper, Depictions of Female Protagonists in Digital Games: In the work of Mildred F. Perreault, Gregory Pearson Perreault, Joy Jenkins, and Ariel Morrison, A Narrative Analysis of 2013 DICE Award Winning Digital Games looks at the depiction of female protagonists in digital games. The combined expertise of the authors in the areas of media sociology, gender studies and narrative theory are brought to bear on a discussion of how female characters in these games serve to both perpetuate and contest traditional gender norms. Their multidisciplinary approach enhances the depth and relevance of their arguments, providing a nuanced examination of gender representation in games like Bioshock Infinite, The Last of Us, Tomb Raider, and Beyond: Two Souls.

Then the authors, on pages 4 and 5 of the paper specifically, start to talk about Elizabeth, one of the central characters in Bioshock Infinite, and examine her depiction within the game’s narrative. It emphasizes the duality of Elizabeth as both the saviour figure, revered in the game’s fiction world and a victim of being saddled with her extraordinary abilities. She is a character who has a duality of power: she can create what some might call 'tears' into alternate dimensions, something that both booker DeWitt is wholly reliant on for completing his mission and is equally dangerous for those who seek to control her. The article highlights the conflict between Elizabeth’s empowerment and helplessness toward male characters and theorizes that her chronicles expose larger cultural ambivalence toward women’s freedom and self‐support.

In order to build their argument the authors situate Elizabeth’s character within the milieu of gender studies and narrative theory. Lastly, they analyze how her character changes from an innocent captive, represented through her initial costume and her angelic captor statue, into a more self-aware and more capable character. By transforming to a more revealing outfit, her characterization is complicated in the narrative and visually. Her dependence on Booker as a protector continues traditional gender dynamics in gaming narratives, but her abilities and moral guidance provide a counter-example of what women are seen to be able to do, or how they should act, within gaming narratives. By juxtaposing these two images, the authors are able to examine the more subtle ways in which an Elizabethan character at once subverts and reinforces familiar tropes. The greatest strength of the paper is its use of cultural and historical context in support of its analysis. The authors tie Elizabeth’s narrative to 2013 which saw the beginning of next-generation consoles and the gaming industry’s ambition to take storytelling to the new level. Considering games from a broader focus, this conceptualization points to an examination of digital games as cultural artefacts which reflect, as well as influence, societal attitudes towards gender. Yet, by anchoring their analysis in the dynamic between technological innovation and narrative complexity, the authors help to show what games can do to challenge stereotypes, without losing sight of constraints imposed by industrial norms and consumer expectations.

In addition, the arguments presented on these pages are of particular strength for many reasons. Then, the authors specifically discuss how Elizabeth’s roles as both a saviour and a victim is a critical examination of the convention of how female characters in games are too easily classified by the male protagonist’s viewpoint. Across both King’s and Craig’s narratives, it is Elizabeth’s ability to create dimensional tears that both saves and imprisons her, a common trope which celebrates and contains women’s power. Second, the author’s analysis of how Elizabeth is altered both at the visual and narrative level provide insight into the difficulties of representing femininity in digital games. More broadly, they move past simplistic critiques of character sexualization to see how visual and narrative elements interact to put this character both as empowering and constrained.

The text aims to present a critical discussion of gender representation in digital games by applying Elizabeth as a case study to discuss larger patterns and contests in the industry. The authors aspire to illustrate how games such as Bioshock Infinite act as cultural texts that both reflect and contradict social mores. Using narrative theory and gender studies, they explore Elizabeth’s character to demonstrate how digital games present the opportunity to develop richer, more varied portrayals of women. However, they recognize the restrictions of these illustrations, and insist on further work being done on how female characters are shown.

The significance of the authors’ arguments exists in their capacity to close the gap between academic analysis and practical ramifications for the gaming industry. Finally, their discussion of Elizabeth’s character asks players and scholars to think about how narrative and visual clues combine to create a gendered identity in games. The authors critique the use of male-centred perspectives and traditional tropes and their reliance on them in order to flesh out a new roadmap for equitable and innovative storytelling in digital games.

In summary, pages 4 and 5 of the research paper provide an in-depth and thought-provoking analysis of Elizabeth’s characterization in Bioshock Infinite while highlighting its intricacies and equivocations. This is interdisciplinarity at work: the author draws on narrative theory and gender studies to look at the changing way in which women are represented in digital games. Their analysis makes the point that, by studying games as a cultural artefact that reflects the values of society but also constructs and reproduces attitudes, the stories that we tell in them can be more diverse and nuanced. Engaging with these themes, the paper feeds into an existing conversation in game studies about the role of digital games in an endeavour to counter and redefine gender norms and thus constitutes a worthy piece to this discussion.

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READER 10

Ferrara, J. (2013). Games for Persuasion: Argumentation, Procedurality, and the Lie of Gamification. Games and Culture, 8(4), 289-304. (ACCESSED ON 10 JAN 2025)

https://doi.org/10.1177/1555412013496891

John Ferrara’s research points out that what gamification is and does diminishes the potential of games as meaningful, persuasive tools by reducing it to extrinsic rewards: points, badges, etc. This paper shows how games designed intentionally can constitute a medium to convey complex messages through the games' procedural nature, a medium that can teach and persuade players through interactive experiences. The core message in such games remains implicit and embedded, like in the educational game Fitter Critters, which Ferrara uses to show how messages can be woven into a gameplay that causes players to discover and learn lessons from healthy eating habits to the proper riding of a bike.

It then discusses the history of persuasive games and stresses the need to balance player enjoyment with some meaningful outcome. To ensure games stay making sense and remain effective, Ferrara outlines practical strategies, like tying messages to gameplay strategy and letting players self-discover. This is a valuable resource to further build that understanding of how to create immersive and impactful game experiences.

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READER 09

Mallon, B., & Lynch, R. (2014). Stimulating Psychological Attachments in Narrative Games: Engaging Players With Game Characters. Simulation & Gaming, 45(4-5), 508-527. (ACCESSED ON 08 JAN 2025)

https://doi.org/10.1177/1046878114553572

In their research, Mallon and Lynch look at how narrative games create an emotional connection between the players and the characters of the game. By focusing on the relationships between players and their avatars, as well as interactions with non-player characters (NPCs), the paper highlights two key factors: Respond quickly and be able to develop deep, valuable relationships. This sort of responsiveness, immediate feedback, logical consequences, and shifting the narrative based on the actions of the player, make for a sense of immersion. In contrast, deep relationships come about through multiple, multi dimensional character interaction, connections made over time and strong emotional triggers.

Players' diaries and content analysis are used in this study to uncover what enables these connections, insights which have applicability for game designers to create richer experiences. I was interested in this text due to its thoughtful take on engagement, particularly for ideas that may increase emotional depth within games. Of particular relevance to narrative crafting is its focus on the human interfaces – how players are connecting with the characters.

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READER 08

de Peuter, G. (2011). Creative Economy and Labor Precarity: A Contested Convergence. Journal of Communication Inquiry, 35(4), 417-425. (ACCESSED ON 07 JAN 2025)

https://doi.org/10.1177/0196859911416362

This article explores the idea of the 'creative economy,' and how it is interwoven with labor precarity. It claims that this dominant discourse of the creative economy fails to take into account the insecurity and instability experienced by a large number of workers in this sector. The author coins this term “precarity”, which is the condition of lacking employment or income predictability and stability.  

The creative economy has risen but at the cost of traditional forms of employment, full time jobs with benefits. This has led to an increasing number of people who stitch together an existence out of a laundry list of alternative part time or freelance positions. The author focuses on creative industries, which are said to be more subject to this trend, as they tend to open a greater degree of flexible work arrangement and less secure jobs.  

The article ends with examples of how workers are trying to organize around precarity and to attain more decent working conditions. New types of unions and worker organisations could be formed, or a universal basic income could be advocated.

The most interesting aspect of this research is that it critically considers the often neglected outcomes of the 'creative economy' namely the proliferation of precarious work. This work benefits from the author's grounding in my own critical theory and empirical research. But on a personal level, this research has helped me understand the relationship between creativity, labour and precarity, and in doing so compelled critical reflection about my own contribution to a more fair future for all workers.

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READER 07

Lee S, Panchal N, Hoffman W, Pomerantz J, Laguna B, Courtier J. An Augmented Reality Model for Evaluating Traumatic Craniofacial Fractures. FACE. 2024;5(3):525-532. (ACCESSED ON 05 JAN 2025)

doi:10.1177/27325016241256671

The author uses the study to asses the innovative use of augmented reality as a diagnostic tool for traumatic craniofacial fractures and in a sense assesses the merits of augmented reality in contrast to current diagnostic methods. The research aims to understand how AR can provide immersive, 3D spatial understanding, to increase the diagnostic accuracy, decrease cognitive load and increase educational utility for clinicians. AR is compared with conventional CT scans and 3D models, highlighting AR’s intuitive usability for less experienced clinicians. AR becomes a real time possibility with the Merge Cube interface, making AR practical for clinical applications.

However, I chose this text because it falls between healthcare and technology, so it flattens the gap between them and shows how AR can revolutionize medical diagnostics. It does so with robust methodology and practical implications. This paper is useful in having a vision of how AR can improve clinical workflows, and it provides a thorough point of view on how to adapt state-of-the-art technology to support complex medical procedures.

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READER 06

Thobaben AM. The Role of Art and Literacy Activities in Children’s Healing Process. Home Health Care Management & Practice. 2013;25(3):123-125. (ACCESSED ON 04 DECEMBER 2024)

doi:10.1177/1084822313476299

The role of art and literacy activities in child’s healing process art and literacy activities in the life of home bound/ home schooled children being treated for illness or injury is discussed. This shows how drawing, making up stories and reading can aid kids in transforming situations that are outside of their control, into events that they can control, and maintain cognitive and emotional development. The paper highlights the effect of these activities – children are able to express their fears and anxieties, develop place in family network, enjoy moments of joy and creativity despite difficult times. It also emphasizes the place of parents and caregivers in enabling these activities, creating an environment where respectful two way communication happens and where the wounds are allowed to heal.

I think this piece touched me because it articulated how creativity can so help in emotional healing. What makes it high quality is the practical guidance it provides, with real-life examples of how the strategies can work in practice to make these strategies accessible and impactful. The article offers a perspective on integrating the use of creative outlets to strengthen resilience and as such it is a useful and insightful resource on how art, care and healing interface.

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READER 05

Atkinson, P., & Parsayi, F. (2021). Video Games and Aesthetic Contemplation. Games and Culture, 16(5), 519-537. (ACCESSED ON 03 JAN 2025)

https://doi.org/10.1177/1555412020914726

According to Paul Atkinson and Farzad Parsayi’s “Video Games and Aesthetic Consideration”, the interactive nature of the video game is not the only aspect of the video game, the video game also provides places for aesthetic engagement. The authors argue, that just as in the case of traditional art forms, games like open-world environments or walking simulators can provide us with moments to contemplate. Here they explore the contradictory tension between the tactile, immersive, goal-oriented elements of gameplay and the sensory experiences games permit when narrative and action retreat.

I found this text drawn because it went deeper into a dimension often neglected in video games, a dimension I always appreciated as my education on the borders between art and digital media. The strength of its analytical depth fuses together philosophical insights with practical examples from games. This work offers me new avenues to approach video games because I can consider them with a more reflective engagement towards their visual and experiential potential, which stays very much in line with what I do as an artist and researcher.

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READER 04

Srauy, S. (2019). Precarity and Why Indie Game Developers Can’t Save Us from Racism. Television & New Media, 20(8), 802-812. (ACCESSED ON 02 JAN 2024) https://doi.org/10.1177/1527476419851081

Sam Srauy’s Precarity and Why Indie Game Developers Can’t Save Us from Racism dissects the complex, fine edged line between a specific kind of labor, economy, precarity, and racial representation within the field of game development. Instead, it argues that the indie developers are both misplaced and systemically pressured by the industry to challenge racial inequities. The article reveals the contradictions of this narrative using interviews with developers, and critiques the larger infrastructures reinforcing these issues.

I first came across this text for its clear exploration of an area where creative freedom runs up against structural limitations. The reason for its high quality lies in its grounded analysis which combines theoretical insights with empirical evidence to make for a great story. At the same time, this research is a way to use creative industries as a lens to question certain assumptions. It promotes thinking about what systemic inequities look like in labour practices and cultural output and how change happens in those spaces.

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READER 03

Mayer, I. S. (2009). The Gaming of Policy and the Politics of Gaming: A Review. Simulation & Gaming, 40(6), 825-862. https://doi.org/10.1177/1046878109346456 (ACCESSED ON 01 JAN 2025)

In this research paper, the concept of gaming is explored and the application of gaming to public policy making. It explores how simulation and serious games have evolved from military training applications to solutions for solving complex, real-world problems such as urban planning and environmental policy. Mayer points out that games are capable of the dual, which is integrating technical/physical systems (systems modelling) and social/political complexity (stakeholder dynamics). The paper highlights the unique flexibility of gaming as an experimental and participation medium, and how it provides policymakers with a safe place from which to experiment with scenarios, discover interdependencies and understand possible unforeseen consequences.

For anyone with an interest in how real-world solutions can be mapped to gaming, this is a great resource. This is a high-quality study that combines its interdisciplinary approach of historical context with theory and practical applications. As for me, it piques my interest in game design because it demonstrates how game design principles can be applied outside entertainment to solve real-world challenges, and to spark creativity.

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READER 02

Thomas, Christian. 2022. Introduction: The Art of Adaptation in Film and Video Games. Arts 11: 71.https://doi.org/10.3390/books978-3-0365-4899-9, pg 1&3 (Accessed 30 DEC 2025)

In The Art of Adaptation in Film and Video Games, Christian Thomas investigates the complicated process of adapting stories from one medium to another in the first three pages. It starts with how content has moved from one form to the next, for example how one moves from books to films to video games. What it mentions is how you need the creative yin-yang of keeping faith to the source material yet taking advantage of the strengths of the new medium. Examples like Alien: Through isolation, borrowed from the 1979 movie Alien, discover how interaction broadens narrative immersion.

The text also defies the usual notions of originality, arguing that all art is a function of time, place, and prior art. It worries about the means of judging adaptations — faithfulness or innovation.

This text is of great relevance to my creative interests in storytelling and game design and that is why I chose this text. As a result, it’s high quality and invaluable to understanding how narratives shape and adapt to engage audiences across different formats.

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READER 01

McLuhan, M 2013, Understanding Media : The Extensions of Man, Gingko Press, Corte Madera. Available from: ProQuest Ebook Central. Page 53 & 54 [Accessed on 30.12.2024]

https://ebookcentral.proquest.com/lib/herts/detail.action?docID=1222206

Marshall McLuhan’s Understanding Media: The Extensions of Man is a fascinating study of technology, society and art. The excerpt focuses on artists as society’s forecaster: their work allows us to develop means to be ready for future psychological and social effects of technologies. For McLuhan, art is not a thing of aesthetic pleasure, art is an instrument for dealing with change. He also examines how technology itself makes its own demand and, as a result, sometimes produces unintended stress on our minds, and how artists can assist with getting us to catch up on the inevitable in the process.

I chose this text because it's a timeless story about the relationship between creativity and technological progress, a topic I am passionate about, design and innovation. What makes it valuable is that it does not shy away from merging deep philosophical ideas and practical insights. It’s a reminder to me that creative work isn’t just personal, it can actually shape the way society reacts to the ever-changing world around us.

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BLOG 10

Exploring "Season: In "A Letter to the Future": Where the Virtual Feels Real

In the ever-evolving landscape of narrative-driven games, "Season: "Interactive storytelling has rarely shined so brightly as a poignant example of the same is A Letter to the Future." Beautiful, stylized landscapes, exciting environments and emotionally resonant gameplay mechanics draw players on a meditative process of discovery that’s both personal and universal; convivial, strangely sombre environments; its excellently crafted tone. This paper will investigate the design of the game through these pillars of Experiential Realism, Believability, Representation and Simulation, and Hypermediacy, demonstrating how those elements contribute towards a fully immersive player experience.

Experiential Realism: A Brief for the Living World

The basis of “Season” is experiential realism beyond visual realism. It evokes the feeling of that living world just masterfully. It still has the rustle of wind through grass, the lazy swing of trees, the seasonal symphony of ambient sound – but it's all incredibly tangible. Crucially the game also allows players to record these sounds within a personal journal. But this act of recording isn’t just a game thing; it’s almost a meditative thing — a way of preserving the precious, ephemeral moments similar to how we try to do that in real life. When this increased engagement is in play, it serves as a major amplification of the sensory impact of the game, creating a very personal link between the player and the virtual world in which they are participating.

Believability: Even a Fantasy Rings True When It’s a World

The believability of 'Seasons is in its being able to build a world that despite its stylized tilt feels genuine and internally coherent. The game's graphics are soft and painterly, creating an idyllic game world that perfectly matches the theme of the game as a whole: of reflection and discovery. The protagonist's quest to explore the wider world and capture its essence resonates with a fundamental human desire: to document the wonders of the unknown. Interacting with the other characters provides further grounding to the experience, whether it be the dialogues or stories seen in them, which additionally reveals the many layers which comprise the world's cultural, historical and emotional currents. Although touched by fantasy, the game's seriousness about coherent internal logic makes for a remarkably believable, emotionally resonant experience.

Representation and Simulation: Memory and Preservation, Echoes

By means of representation and simulation, 'Season' creates a wider, more metaphorical form of memory and our human instinct to hold things. The mechanisms of photography, recording of sound, and journaling represent powerful symbolic echoes of our larger attempts to document and rationalize ephemeral experiences. Their stylized landscapes are not after photorealism, but nevertheless effectively an embodiment of the emotional and aesthetic spirit of a world in change. Beyond mere surface level visuals this simulation manages to also capture the cyclical nature of the seasons and the inevitable flow of time. By playing with these mechanics players are encouraged to meditate on their own relationship to nature, the fragility of memory, and the process of preservation.

Hypermediacy: A collection of essays with a focus on the use of cameras and a structured approach in the documentation and shaping of experience.

Recently, as someone primarily working with games, I can see this distinction happening and my time spent in this work reaffirms my reading of the game's focus on mediated interaction via the journal, camera, and audio recorder, as tying it tightly to hypermediacy. "Season" foregrounds the act of documentation by making its processes of mediation, the way mediations configure our conception of the world, visible. It supersedes its status as just a repository and becomes a dynamic narrative device, fluidly following the player's forward odyssey. This layering encourages players to not only inhabit the game world but to consider how they facilitate inhabiting as active curators of and for memory and meaning. By doing so, "Season" recognizes the fundamentally mediated quality of human experience, quietly mixing the boundaries between player and the one they embody.

Conclusion: A poignant reflection in this age of the Internet.

"Season: Video games is a bold and powerful medium, and "A Letter to the Future" is a testament to its transformative potential. It merges experiential realism, believability, representation and simulation and hypermediacy, to paint a stunningly beautiful and introspective experience. The serene landscapes, dynamic environmental elements and meditative mechanics of its mechanics offer the bulk of the game's escapism, but they also make space for players to ruminate on the nature of memory, the power of storytelling, and the fleeting, but powerful, beauty of life itself. As an artistic and as narrative achievement, "Season" is an excellent example of how a game can reach down into something deeply personal, and yet universal, and can make games resonate culturally and emotionally in interactive media of the digital age.

SOURCES

https://medium.com/narrative-and-new-media/environment-culture-emotion-7f47bcacdf9e

https://gamerant.com/season-letter-future-interview/

https://www.prismaticwasteland.com/blog/the-secret-to-realism-in-games?utm_source=chatgpt.com

https://archinect.com/news/article/149963555/a-tour-of-experiential-magical-realism-games-from-the-triennale-game-collection

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BLOG 09

The Role of Audio in Creating Immersive Digital Game Environments

Usually, we are fascinated by richly detailed worlds designed for digital games. They are precisely crafted virtual realities that use a craftily calibrated combination of vision and sound stimuli to hook us in. While the visual prowess of game design frequently takes centre stage, one might ask: what does the sonic tapestry that encompasses us become? This examination contends that the "soundscape", the frequently overlooked arena of sound, is far more than simply the icing on the audio cake. In fact, sound is a vital, co-equal partner with visuals in creating truly immersive digital game environments (and merits much more recognition for what it does). Consider the diverse elements that compose a game's soundscape: Songs, ambient sounds, sound effects, and dialogue. Today, we’ll walk through creating both of these new aspects and talk about how each plays its part in sculpting the player’s perception and emotional engagement. Picture rustling leaves in a packed forest, an industrial quality hum of machinery on a starship, or muted, far-away chatter from a busy marketplace. These are ambient sounds, the howling of the wind that makes the little Winter wonderland in the painting breathe. They set the mood, create the feeling of a presence and quietly guide the player’s mood while being anchored in the virtual world. Can it not be this subtlety in the background that gives weight to the digital world? The sounds you hear – the clang of a sword, the roar of an engine, the footstep of an approaching foe, they are sound effects. However, they are not just arbitrary noises; they are important feedback, adding force to the fact that the game world is tangible, and the player’s feeling of agency. Beyond what they're usually there to do, they serve to tell players when their environment changes or when something dangerous might be present. These cues allow players to get used to the game. Background melodies don’t just make up the game's soundtrack. They are dynamic adaptive compositions, reacting to the rise and fall of gameplay. Can we say no to music’s ability to build tension in a white knuckle battle, create wonder during serene exploration, or otherwise convey the emotional weight of the pivotal narrative moments? Its evocative power folds into the result of shaping the player's emotional journey to the maximum possible potential in a game experience. But dialogue does way more than tell you how the story goes. Non-playable characters (NPCs) get a character voice, thus depth and personality.

Sometimes narrative information in audio is above and beyond what is displayed on screen, where audio not only creates a sense of the world and its inhabitants but also the players' understanding of them. In the smart use of spatial audio technologies capable of simulating real-world sound behaviour, the behaviour of the sound sources would be reproduced with impressive accuracy within the game environment. It produces a powerful feeling of presence, being really in the virtual world. Can't we pinpoint through sound the location of a hidden enemy or a distant conversation, is this not a line between reality and virtual which blurs immersion enough? Audio has an emotional power all of its own. A sharp noise that you are not expecting will jolt you, while a haunting melody will create a tambour of melancholy in you. These emotional responses are also expertly used by game designers to create those moments of tension and excitement, sadness and joy with which the player resonates deeply. A game is after all just a carefully constructed emotional journey and a large part of that emotional journey is guided by its sonic landscape. It is important for immersive storytelling that diegetic sound (within the game world for example, the dialogue of characters or the noises of the environment etc.) plays together with non-diegetic sound (added for the player for example, as in the example of the musical score). This blurry line can serve to pull the player into the narrative more and more deeply as they pass back and forth between the games and their own reality. For example, using a character humming a tune that then quickly transitions to the non-diegetic soundtrack where the last part of the tune is being sung provides a unified auditory experience — a very subtle but powerful technique for raising the immersion.

Not very far off from being merely an embellishment to visuals, it is also a powerful instrument, that forms perception, creates emotions and fuels engagement. With an increasing number of barriers in realistic and dynamic audio rendering being torn down thanks to technological advancements, the importance of sound in game design only continues to grow. Awareness of how audio contributes to the overall immersive experience of digital games, however, can help deepen our understanding of the kind of art and technical craft necessary to create truly immersive virtual worlds. Since further investigation into the psychological and physiological effects of game audio will prove to be enlightening, clearly, the sound anaemic environment of games has a profound impact on the player experience. It will also set the stage for even more sophisticated, more immersive game environments, to come. .fasterxml sauna, the future of gaming is not just seen but heard.

SOURCES

https://openaccess.city.ac.uk/id/eprint/30732/1/FINAL%20THESIS%20-%20SMITH%2C%20JENNIFER.pdf (ACCESSED ON 20 DEC 2024)

https://www.researchgate.net/publication/282410867_The_Influence_of_Background_Music_of_Video_Games_on_Immersion (ACCESSED ON 20 DEC 2024)

https://www.linkedin.com/pulse/role-music-sound-effects-creating-immersive-gameplay-phantom-cave/ (ACCESSED ON 20 DEC 2024)

https://www.soundoflife.com/blogs/experiences/sound-immersive-gaming (ACCESSED ON 20 DEC 2024)

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BLOG 10

Joy of Gaming for Older Adults

In an age when stereotypes rule how we view things, I find it interesting to see how the digital gaming world is changing, especially with older people. Those are the days when gaming was the niche of the young. As of today, more and more 50plus folks are enjoying the fun of digital games, tipped towards being an activity for young people only.

Consider this: Sitting down in their living room, a retiree may have recently entered their golden years, or is maybe a few decades out yet, but is engrossed in a puzzle game on their tablet. In an era where mental stimulation, social interaction, and entertainment are sought-after things, you might be thinking that what was seemingly a simple pastime can actually open a gateway to a world of all three. But why do such people as older adults like these digital experiences so very much?

First of all, digital games involve a different kind of mental exercise. Additionally, they call for players to have to mind, and think critically, solve problems, and make quick decisions. That can be incredibly fulfilling, a sense of achievement, and keep the mind sharp. Furthermore, numerous games were created with social interactivity in mind, so players could connect with folks, even if they're apart by miles. In an age where you’re always on the lookout for social solutions, the game also provides a new approach to solving this problem.

Of course, entertainment is another important thing. Games are a passionate escape from routine for most of us living in the daily grind. From the excitement of strategy in a game of chess to the calming influence of a casual puzzle game, everyone is sure to find something that catches their attention. Of course there are the cognitive benefits too — research has pointed to how gaming can actually improve memory, attention and problem solving skills, so important for keeping the old noggin in good working order.

So, what kinds of games are older adults being drawn to? "Games like Minecraft and Candy Crush, other puzzle games, are attractive because there is an addictive feeling when you play, but it's also a relaxing, cool time." Mental challenges are best served by strategy games such as 'Civilization,' while easy and stress free play are answered with casual game types like Sudoku or crossword puzzles. On the other hand, multi player games promote social interaction such as "Among Us."

Naturally, there are things to keep in mind. Some can be put off by accessibility issues, such as complex controls or small text. Further, there is an opportunity for too much screen time. Despite these challenges, all is not lost, and with thoughtful consideration, these issues can be minimized, enabling older adults to enjoy the full benefits of gaming.

Games and brain exercises can keep certain cognitive functions up to par in people with dementia: memory, problem-solving. These games have been proved by research to increase cognitive reserve and delay the progression of dementia symptoms to prolong a good life; as well as more specifically prevent and treat depression.

SOURCES

https://www.healthline.com/health/alzheimers-dementia/memory-games-for-dementia (ACCESSED ON 20 DEC 2024)

https://doi.org/10.1177/1555412015594273 (ACCESSED ON 20 DEC 2024)

https://www.theesa.com/the-power-of-video-games-in-aging/ (ACCESSED ON 20 DEC 2024)

https://www.aarp.org/politics-society/advocacy/info-2023/jenkins-gaming-for-grownups.html (ACCESSED ON 20 DEC 2024)

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BLOG 08

Decoding Decay: semiotics in "The Substance"

"The Substance" is a story about the body horror of semiotics. Quite simply, I loved Demi Moore in Coralie Fargeat's body horror masterpiece The Substance, The film is a dark interpretation of social beauty standards, growing old and the objectification of women at the most elevated entertainment shows. Cannes just won the Palme d'Or for the film. But while the film is extremely bald and annoying from the exterior there are lots of signs and references throughout the film. This then allows us to look at how meaning is created and transmitted through film. With its visual, auditory, and narrative elements "The Substance" is very disturbing to watch. The film is a critique of how much society values youth, and youth, and unreal beauty standards.

The film revolves around Elisabeth Sparkle (Moore), a fading Hollywood star, called that largely because the star, once a star and now a fading Hollywood star, has lost her prime years. She tries, in an attempt to rediscover her youth, to go through a drug treatment that helps her become a younger, more good-looking version of herself, Sue (Margaret Qualley). The film explores the beauty standards set by society around ageing and the objectification of women at the topmost entertainment shows. The film has just won the Palme d'Or at Cannes. The film possesses a lot of disturbing visuals from the exterior but there are a lot of semiotics throughout the film showcasing a lot of signs and references. we can analyze how meaning is constructed and communicated in film. "The Substance" is rich with visual, auditory, and narrative elements that create a disturbing viewing experience. The film critiques society's fixation on youth and unrealistic beauty standards. The film’s plot revolves around Elisabeth Sparkle (Moore) who is a fading Hollywood star who has lost her prime years and is now considered a fading Hollywood star. In an attempt to reclaim her lost youth, she takes a desperate step to undergo a drug treatment that produces a younger, more good-looking version of herself, Sue (Margaret Qualley)

This contrast lies, however, in the film itself, that between Elisabeth’s ageing, real body, and Sue’s youthful, more idealized body. The signs of ageing such as stretch marks, wrinkles and the feeling of weariness in the body of Elisabeth’s show a sign of ageing just as a sign of her downfall and devaluation by society. In Hollywood, the competition is so cutthroat that her body is something that you don’t want, something you can replace. Also in the film, Sue’s body is idealized as the ideal form. Her character surrounds the shiny, smooth skin, toned physique and an aura of youthfulness. Beauty, desirability and growth are signified in Sue’s character. The story is about the stark difference between the two characters and bodies playing the backbone of the story represented so visually powerfully by the societal pressure of unrealistic beauty standards.

But The film isn’t just about two sides of youth and age. The application of the substance itself, and those complications, further complicate the semiotic scenery in an unsettling process. The serum isn’t applied normally, it needs an extensive transformation of muscular tissues, the characters become in severe pain before they pass out, and then there is a birthing process where Sue emerges from Elisabeth’s back with a fluid and flesh and there is a serious graphical visualisation of the whole process.

However, in the film visuals represent the birth process as a horrific experience symbolising death and decay. Sue is portrayed as to be a suppression or death of Elisabeth. The processes of Sue’s twisted birth are meant as a metaphor for the pursuit of eternal youth, which is a destructive process. The aspect where Harvey talks about The future of Elisabeth, all in term of the sound design is a masterpiece. All about control, a power-hungry Harvey, who I show in the film, is shown as the person who is always in control. In the scene he is disgustingly eating prawns, the empty shells of which are a metaphor of his hunger for power, control dominance and indulgence. The scene looks at Harvey's exploitative tendencies. It doesn’t only do that but the sound design of the transforming process of the bodies also brings a sense of disgust to the viewer. The creepy sounds when combined with the imagery above produces perhaps the most harmful and powerful nature of the procedure. The use of the fitness TV show of “Sparkle Your Life” is used to show semiotic commentary in the film. The shows is in direct opposition with Elisabeth’s personal struggles, as every item in the show’s set design is filled full of bright colours, upbeat music, and smiley faces. By the climax of the film, the two character’s relationship has become complex. As the plot continues, we see that Sue’s character becomes greedy and disobeys the only shown rule (You are one), which causes major physical deformations in Elisabeth’s body, and eventually life-threatening, and fatal. Both the physical and mental state of the characters quelches the hunger for control and greed. We long for the perfect body, fragmenting self away from body.

All in all, "The Substance" is much more than just a visceral body horror film, it's a complex and layered examination of the human condition. The use of all these semiotic elements – the contrasting bodies, the grotesque transformations, the sound design, and the setting – in the film makes the strongest critique of society’s obsessions with youth, beauty, and the objectification of the female body. What it does is it forces you to take a hard look at yourself and the stories and images that actually perpetuate these harmful ideals, and your own complicity as well. "Film 'The Substance' Is A Film That Stays With You, Stays Bouncing Around Your Mind, Stays Shaping Your Perturbation, After The Credits Roll, Because That Is The Price You Pay, The Big Price, For Trying To Be Perfect, For Going To That Place, That Changes You Completly, From An Kareer To A Sequestration Of You." This is a film that cries out to be taken apart — subjected to deconstruction and understanding — not simply for its graphic depiction, but for the deeply philosophical semiotic conversation that it starts about the meaning of beauty, ageing and just what it means to be human. This manifestation is the conclusion of a sophisticated horror movie that explores the mental side of the human condition with deep layers. By the use of sound design, uncanny transformations, quick scenes and a setting with semiotic elements, the film serves as a strong attack on the social beauty standard and the objectification of the female body. This is a film that makes you question what makes us human and leaves you questioning so many of today’s beauty standards set by the entertainment businesses.

SOURCES

https://www.imdb.com/title/tt17526714/?ref_=nv_sr_srsg_2_tt_6_nm_0_in_0_q_the%2520sub (ACCESSED ON 15 DEC 2024)

https://www.yellowbrick.co/blog/film/decoding-the-power-of-film-semiotics-a-path-to-success-in-your-field (ACCESSED ON 15 DEC 2024)

https://www.bbc.com/culture/article/20240920-the-substance-the-gross-horror-thats-2024s-most-divisive-film (ACCESSED ON 15 DEC 2024)

https://www.polygon.com/movies/455942/substance-director-interview-branding-design?utm_source=chatgpt.com (ACCESSED ON 15 DEC 2024)

https://www.vogue.com/article/why-does-demi-moore-wear-so-many-primary-colors-in-the-substance?utm_source=chatgpt.com

(ACCESSED ON 15 DEC 2024)

[heymanshoot]

BLOG 07

The Role of Fan Culture in Games: Powering Creativity and Innovation

One of the most transformative forces in the gaming industry today is fan culture, which all of helped reshape how games are made, played and even experienced. This evolution has been long supported by enthusiasts, who are producing mods and fanfic, playing in competitive esports, and brightly flaming up online communities. By examining their contributions, we reveal the strength of participatory cultures that strengthen the connections between fans and developers, creating a living ecosystem. The synergy of this not only boosts the engagement of the player but also propels the industry with new trends and innovations.

A pivotal exploration of this phenomenon is Hector Postigo's research, "Of Mods and Modders: A hunt for the value of fan-based digital game modifications. Fan programmers or modders are the focus of Postigo in connection with how they have shaped the success of the first-person shooter FPS market of the digital gaming industry during the years between 2002 and 2004. His study equates the impact of these modifications, created in fan time, to be worth as much as $30.4 million in equivalent labour costs on 39 large-project modifications. Behind the numbers, Postigo investigates why people mod: for creative expression, for the satisfaction of contributing to a community, or to springboard into game development careers. An analysis of mods reveals that they extend the lifecycle of a game, increase its market appeal, and spur firsts that benefit both fans and developers by fiercely embracing this symbiotic relationship.

This relationship is symbiotic, and successful stories exist like Valve Corp's partnership with the creators of the Counter-Strike modification. A fan-created project that turned into a global-sized franchise has benefited both the original modding team and the company. Epic Games and ID Software have similarly cultivated fan culture, building modding tools into their platforms, coaxing fans to coauthor content, and in so doing, helping the games succeed. Drawing and holding on to this line has solidified modding as a fundamental pillar of the gaming industry: fans serve as both creators and audience, indistinguishable from developer and user.

In addition to this, Fan culture is also a part of community building. Fans can share their creations, work on projects together, and give one another feedback, using online forums, social media platforms, and dedicated websites. In these digital spaces, these digital spaces become hubs of collective intelligence where knowledge is being shared and innovation is going to apply. Through these interactions players and creators both benefit; fans who experiment with new gameplay mechanics or explore new narratives and perspectives; and rodders who utilize fresh child psychologies in their franchise of choice.

On top of that, fan culture is a means of innovation, taking creative risks that may be avoided by traditional developers. Fan-driven creativity with mods like Dota and PlayerUnknown's Battlegrounds (PUBG) has redefined an entire genre due to the groundbreaking potential of mods. Developers who help support such initiatives can access untapped ideas, and fans enjoy a richer and more diverse gaming experience.

Lastly, instead of just being a result of the gaming industry, fan culture will continue to be an essential stimulant to such growth and success. It democratises creativity; powers players to be co-creators; it challenges traditional sector boundaries. As gaming progresses, fan culture will continue to play a crucial role — as a medium, gaming is an exploration of space in a medium already used to be innovative and collaborative. Game developers can reach new opportunities, maintain their ecosystems, and deliver experiences that resonate well with players everywhere if they decide to embrace their communities’ contributions.

SOURCES

https://journal.transformativeworks.org/index.php/twc/announcement/view/149 (ACCESSED ON 18 DEC 2024)

https://about.fandom.com/news/fandoms-2022-state-of-gaming-study-reveals-trends-issues-facing-the-gaming-industry-2 (ACCESSED ON 18 DEC 2024)

https://www.newwavemagazine.com/single-post/the-cultural-impact-of-gaming (ACCESSED ON 18 DEC 2024)

Postigo, H. (2007). Of Mods and Modders: Chasing Down the Value of Fan-Based Digital Game Modifications. Games and Culture, 2(4), 300-313. https://doi.org/10.1177/1555412007307955

(ACCESSED ON 18 DEC 2024)

[heymanshoot]

BLOG 06

Bully: Rockstar's Teenage Story and a Masterclass in Media Mixing

We all know Rockstar Games from Grand Theft Auto, right? They're the kings of letting you run wild in these crazy city landscapes. But then, They hit us with Bully in 2006, and it was an entirely different situation. Instead of jacking cars, you're navigating the treacherous hallways of Bullworth Academy, a high school that's a pressure cooker of teenage drama. Think of cliques, pranks, awkward dances, and, of course, bullies. But it still has that signature Rockstar rebellious spirit, channelled into schoolyard chaos. It's like they took their usual recipe for mayhem and gave it a high school makeover.

Bully is a game so full of character that it has passed the test of time with flying colours.

Bully can be considered a love letter to Hollywood cult classics like The Breakfast Club and Ferris Bueller's Day Off. The similarity between these movies and Bully is that they nailed what it was like to be a teenager considering the constant awkwardness, the rebellion and just overall trying to find your place in the cruel world. You are not just playing bully in this game sometimes you just have to deal with bullies in the social minefield of high school that teaches a really important aspect of life in the teenage years. The concept of the story is pretty thought-provoking as it deals with actions and consequences for both yourself and others around you. Bully as a game gives you choices that can either continue the cycle of abuse or attempt to break it and in all this our character often turns out to be the ultimate bully.

Bully isn't just a movie enthusiast's dream, one can argue that the protagonist of the game Jimmy Hopkins shares the same DNA to Holden Caulfield the cynical, disillusioned teen from The Catcher in the Rye who saw through the hypocrisy of the real world. Similar mindset and approach towards authorities and that same feeling of being an outsider. 

One of the key takeaways from this game is that it is not important to always plan a game that addresses a certain problem directly. There are various ways of tackling a problem like bullying in school environments through this video game where our character becomes one in order to fight all of them. The game doesn't portray a definitive "winner," but rather focuses on Jimmy's growth and the dismantling of Gary's (antagonist) power within the school. The game Bully is also called Canis Canem Edit; Latin for "dog eat dog". The whole narrative of the game is around showing a world where the survival of the fittest is the topmost priority.

Some of my favourite chapters from the game are chapters 1 and 2. I appreciate the cloudy and dimly lit atmosphere signifying the sense of drama. Additionally, the uniforms and school corridors evoke nostalgia. set design and art design choices of the game are impeccable be it the music, the graffiti or the random stuff the player might find lying around Bullworth Academy it all relates to pop culture references. The attention to detail in this game makes it feel so real, relatable and addictive for players.

The game mechanics incorporate structure and responsibilities that demand the player to engage. For example, the lessons are mandatory during school hours, and there is a curfew that players need to follow to gain experience points as an incentive for participation.

The game's environment is dynamic and changes depending on the time of day. During school hours, the usual crowds of students are replaced by teachers. Players who attempt to avoid their lessons will be pursued by teachers. While the punishment may not be severe, it significantly impacts the gameplay experience and immerses the player in the role of a student.

Complex Portrayal of Bullying: Bully is unique because it allows players to experience the school environment from the perspective of Jimmy Hopkins, a student who is both a victim and a perpetrator of bullying. This creates a nuanced perspective. The game doesn't simply demonize bullies but explores the social dynamics, power struggles, and even the reasons behind bullying behaviour. A book like Scheg's could analyze how this complex portrayal compares to more simplistic representations of bullying in other media.

Bully is truly a unique game as it allows players to experience the school environment from the perspective of Jimmy Hopkins, a student who is both a victim and a wrongdoer of bullying. This creates a mixed perspective. The game approach isnt simply demonising bullies it actually explores the social dynamics, power struggles, loopholes in the workings of school systems and even the reasonings behind such behaviour from students. Schegs book analyzes how this complex portrayal compares to more simplistic representation of bullying in other media

Scheg's dynamic view of individuals' roles in bullying aligns with current research: one person can be a bully, a victim, or both. Jimmy who is the main character of the game could be identified as a mix of both worlds.

Jimmy engages in various activities like bike races, photography classes, and arcade games. These act as distractions and provide a sense of accomplishment, offering temporary relief from the social pressures of Bullworth Academy.

Conclusion

Bully transcends traditional video game conventions and can be seen as a postmodern text that encourages critical thinking, social awareness, and self-reflection. Its deconstruction of narrative, gameplay mechanics, and thematic content challenges players to engage with the game on a deeper level and consider its implications for the real world. By encouraging critical thinking, social awareness, and self-reflection, Bully can be seen as a postmodern work that goes beyond the typical conventions of video games. The game's deconstruction of narrative, gameplay mechanics, and thematic content challenges players to engage with the game on a deeper level and consider its implications for the real world.

SOURCES

https://www.imdb.com/title/tt0088847/ (ACCESSED ON 06 DECEMBER 2024)

https://onlinelibrary.wiley.com/doi/10.1111/jacc.12683 (ACCESSED ON 06 DECEMBER 2024)

https://www.imdb.com/title/tt0091042/ (ACCESSED ON 06 DECEMBER 2024)