#SourceAndSignificance_Fangxuan

[fangxuanli]

Source & Significance: Critical Analysis

Sicart, M. (2013). Beyond Choices: The Design of Ethical Gameplay. MIT Press, pp. 7-8.

Miguel Sicart is an associate professor at the Centre for Computer Games Research at the IT University of Copenhagen. His work focuses on the intersection of ethics and game design. Sicart believes that video games can be used as tools for ethical reflection. In his book, Sicart aims to elevate video games as a medium capable of ethical reflection, making them similar to film works that appeal to audiences on an ethical level, such as The Godfather or Apocalypse Now.

On pages 7–8, Sicart introduces the concept of ethical games and discusses the definition of games with ethical significance. He believes that ethical games involve creating scenarios in which players must make morally significant choices, thereby triggering their ethical reasoning. A key point raised by Sicart is that ethical games do not present clear-cut moral dilemmas, but rather create complex situations that reflect the ethical ambiguity of real life. While traditional game design usually focuses on clear objectives and rewards, ethical games require a more nuanced approach to introducing the topic.

In the book, Sicart introduces the "tram problem" as a possible ethical scenario. The "tram problem" is a classic moral dilemma: a person must choose whether to pull a switch and divert an out-of-control tram onto a different track, causing the death of one person; or do nothing and let the tram continue on its course, causing the death of five people. Anyone who is faced with this situation will inevitably feel internal difficulty and discomfort (at least most people will) when making an ethical decision, but there is no clear right or wrong answer to this situation.

He mentioned Pippin Barr (2011) and his "Tram Problem". Pippin Barr is a game designer who created an interactive version of the "Tram Problem" that allows players to make the moral decision of whether to pull the switch to divert the tram. His game design has the following outcomes:

- On level one you chose to pull the switch. One person died. Three people lived.

- On level two you chose to pull the switch. One person died. Three people lived.

- On level three you chose to shove the very large person. The very large person died. Three people lived.

- On level four you chose not to pull the switch. Three people died. Your son lived.

This game materializes an imagined ethical dilemma. Although the game also incorporates a little joke by the author, which is somewhat interesting, players will undoubtedly experience a certain tension and discomfort when making morally complex decisions in the game. Barr's work demonstrates the potential of video games as a tool for ethical reflection. Sicart uses this example to highlight the uniqueness of video games in presenting ethical dilemmas, i.e., unlike traditional media, video games provide an interactive experience in which the player's decisions directly affect the outcome. This interactivity enhances ethical engagement, as the player is not just a passive observer but an active participant in the moral decision-making process.

In addition to the Trolley Problem, Sicart discusses the connection between basketball rules and game rule design. He explains that the rules in a basketball game are not just technical constraints, but also ethical guidelines that shape player's behavior and decisions. For example, the foul rule is not just there to punish unfair behavior, but also to encourage players to play ethically and respect their opponents. Sicart argues that, similarly, game designers can create rules and situations in video games that encourage players to reflect ethically and consider the consequences of their actions.

Sicart's argument challenges the traditional view of video games as mere entertainment. By advocating ethical gaming, he positions games as a medium with the potential to facilitate moral education and reflection. Sicart is adept at approaching issues using an interdisciplinary approach. By drawing on philosophy, design theory, sociology and literary studies, he provides a comprehensive perspective on how to achieve ethical gaming. However, a potential flaw in Sicart's argument is the assumption that all players are equally interested in engaging with ethical content. While some players may appreciate the moral complexity, others (such as those who might be interested in Barr's "tram problem") may prefer the escapist and entertainment value of the game.

Sicart's arguments in the article provide game designers with a new perspective and challenge. Designers need to balance entertainment and the depth of ethical reflection in games, which not only tests their technical ability, but also their understanding of human nature and morality. In this way, games become not just a means of entertainment, but also a vehicle for culture and education. At the same time, game designers are not just creators of entertaining content, they are also shaping the values and moral concepts of players. By designing games with ethical depth, designers can subtly influence player's way of thinking and choice of behavior. This influence is not limited to the game, but may also extend to real life, prompting players to engage in deeper reflection and more responsible decision-making when faced with real-life moral dilemmas.

Video games are one of the main forms of entertainment in today's society. As games continue to evolve, the concept of integrating ethical games is becoming increasingly important. Designers are encouraged to create games that can ethically engage players. On the one hand, this kind of content in games simulates the various moral (or immoral) dilemmas that people encounter in the real world, and has a certain educational value. On the other hand, games with ethical design depth will also have a deeper narrative and social and cultural tension.

[fangxuanli]

Source & Significance: Reader

1

Bogost, I. (2016). Play Anything: The Pleasure of Limits, the Uses of Boredom, and the Secret of Games. Basic Books.

In this book, Ian Bogost argues that limits and rules are the heart of the game and the key to finding joy in our lives. By accepting and embracing these limits, we can discover new possibilities and pleasures. Boredom is not a negative state, but a resource that can be harnessed. By embracing boredom, we can find new creativity and inspiration. Bogost suggests that we can find fun and meaning by seeing everything in our lives as a game. This perspective applies not only to traditional play, but also to a wide range of activities at work, school and in everyday life.

This book helps me understanding and analyzing life's challenges and difficulties. By looking at life as a game, it is possible to face life's limitations and boredom more positively, and to find the joys and meanings hidden within. This perspective is not only important for game studies, but also has a wide range of applications in fields such as psychology, education and management.

2

Calleja, G. (2011). In-Game: From Immersion to Incorporation. MIT Press.

In this book, Callea argues that the traditionally used concept of "immersion" is too vague to accurately describe the player's experience in a game. He proposes a new framework, the Player Involvement Model, to more accurately describe this experience. This model consists of two temporal phases: a macro phase (representing offline engagement) and a micro phase (representing transient in-game engagement), as well as six dimensions of player engagement: sense of movement, sense of space, sense of sharing, sense of narrative, emotion, and sense of play. The concept of Incorporation, proposed by Callea as an alternative to Immersion, more accurately describes the player's experience of deep engagement in a game. He argues that Incorporation is a synthesis of the phenomena players experience in games, providing a more solid foundation for future research and design.

This book offers a new perspective on understanding player experience in digital games. By discussing the six dimensions of player engagement in detail, Callea's study provides an important theoretical foundation for game design and research, contributing to a deeper understanding of the appeal of digital games and the experience of player engagement.

3

Consalvo, M., & Dutton, N. (2006). Game Analysis: Developing a Methodological Toolkit for the Qualitative Study of Games. International Journal of Computer Game Research, 6(1).

Consalvo and Dutton argue that despite the growth of digital games research, there are few qualitative, critical approaches to analyzing games as "texts". They propose a four-part analytical framework to help researchers study games more systematically. The four parts include: object lists, interface studies, interaction maps, and game logs. Through these methods, researchers can gain a more comprehensive understanding of the game's content, structure and player experience. This approach is not only applicable to the analysis of individual games, but can also be used to compare different types and styles of games.

This thesis provides a systematic methodological framework for game research, which helps to improve the science and rigor of game analysis. It is not only important to the field of game research, but also provides a reference for the research of other new media forms.

4

Dovey, J., & Kennedy, H. W. (2006). Game Cultures: Computer Games as New Media. Open University Press.

In this book, Dovey and Kennedy argue that video games are more than just entertainment tools; they have far-reaching cultural and social significance. They propose that video games are a form of new media with unique narrative and interactive properties that can influence the way players think and behave socially. They are not only a tool for entertainment, but also a medium for expression and communication. And gamers are not just passive consumers, they are active participants who are able to create their own cultures and communities through gaming experiences and interactions. On a macro level, video games have a profound impact on social behavior and ways of thinking. They can change the way people socialize, learn and work.

By exploring the unique characteristics of video games as a new medium and the culture of players, Dovey and Kennedy's study provides an important theoretical foundation for game studies and new media research, contributing to a deeper understanding of the cultural and social significance of video games. It facilitates the understanding of the place of games in the social structure and culture.

5

Juul, J. (2011). Half-Real: Video Games between Real Rules and Fictional Worlds. MIT Press.

Juul suggests that video games are unique in that they contain both realistic rules and fictional worlds. Realistic rules are the specific rules and mechanics of the game, while fictional worlds are the stories and environments created by the game. By combining the two, video games are able to provide a unique experience that allows players to both enjoy the challenges of the game and immerse themselves in the fictional world. The book specifically analyses the specific rules and mechanics of the game, which determine the player's behavior and goals in the game; the stories and environments created by the game, the fictional elements that provide an immersive backdrop for the player; and the fact that by combining both the real rules and the fictional worlds, videogames are able to provide a unique experience that allows players to both enjoy the challenges of the game and immerse themselves in the fictional world.

Drew's research reveals how video games create unique experiences by combining realistic rules and fictional worlds. Through this lens, we can gain a deeper understanding of the appeal of video games and better design and control the player's engagement in the game.

6

Sicart, M. (2013). Beyond Choices: The Design of Ethical Gameplay. MIT Press.

Sicart argues that video games are more than just entertainment tools; they can be platforms for moral education and reflection. He suggests that game designers can guide players to think and reflect on their actions and choices by designing complex ethical situations and decision-making mechanisms. Moral situations are realized through storylines, character interactions and game mechanisms. Such designs not only enhance the depth and appeal of the game, but also help players to develop and exercise moral judgement in the virtual world. By designing complex decision-making mechanisms, game designers can guide players to think about and reflect on their actions and choices. Decision mechanisms specifically refer to those game rules and systems that influence player behavior and choices.

This book talk about how video games can guide players to make ethical decisions and reflections by designing complex ethical situations and decision-making mechanisms, which has important theoretical implications for game design and research. As a Master's student studying game design, understanding the potential and influence of video games in moral education and reflection will help me to better analyze some of the best related design works and will make me more comfortable with this kind of subject matter in the future.

7

Taylor, T. L. (2018). Watch Me Play: Twitch and the Rise of Game Live Streaming. Princeton University Press.

This book discourse examines Twitch as a live gaming platform that has also created a new social space that has changed the way players and viewers interact with each other. Through Twitch, players can not only show off their gaming skills, but also interact with viewers in real time, allowing gaming culture to form a unique community. The book talks about how the rise of live gaming has changed the traditional gaming experience, allowing players to be not only participants in the game, but also performers, and viewers to be part of the interaction. Twitch provides a new social space for players and viewers to build closer ties and communities through real-time interaction. The rise of Twitch has had a profound impact. It has not only changed the way games are distributed, but also influenced game design and player behavior.

This book helps readers better understand the rise of live gaming and its impact on gaming culture and society. Taylor reveals how the emergence of Twitch has changed the way players and viewers interact with each other and the impact it has had on gaming culture and society. His research helps readers gain a deeper understanding of the potential and influence that a culture as seemingly commonplace as live gaming now holds.

8

Shaw, A. (2017). Representation and Identity in Digital Games: A Critical Analysis. Journal of Media and Cultural Studies, 29(4), 523-538.

The article focuses on representation and identity in digital games, analyzing how games reflect and shape players' identities and social identities through their characters and plots. Shaw's main theories include, Representation: According to Shaw, characters and plots in digital games are more than just entertainment elements; they reflect different identities and cultures in society. By analyzing representation in games, we can better understand how games influence and reflect players' identities; Identity: Shaw proposes that players are not just passive consumers in games, but that they actively construct and reshape their identities through their interactions with game characters and plots. The characters and plots of games provide a space for players to explore and express their identities; Critical Analysis: Shaw emphasizes the importance of critical analysis of games, through which we can uncover the implicit messages and ideologies of games in order to better understand the social and cultural impact of games.

This thesis has provided me with a lens through which to view issues of representation and identity in digital games. By critically analyzing the game and further uncovering the implicit messages and ideologies within the game, I have developed a deeper understanding of the known and possible social and cultural impacts of the game's work. The article's in-depth analysis of identity politics in games makes it an important way to understand the cultural impact of digital media and games, and it is particularly important for both the general public and practitioners to be able to properly understand the meaning and impact of game culture.

9

PLOS ONE. (2023). The Impact of Digital Educational Games on Student' s Motivation and Learning Engagement.

The book focuses on the impact of digital educational games on student motivation and engagement. It is based on behaviorist learning theory and situated cognition theory. Behaviorist learning theory suggests that learning is achieved through conditioning and reinforcement. By providing immediate feedback and rewards, digital educational games can reinforce students' positive learning behaviors and thus increase their motivation to learn. Contextual cognitive theory emphasizes the importance of the learning context. Digital games can create immersive learning environments that make learning content more engaging and relevant to students' real-life experiences, thus enhancing the practicality of learning.

They provide educators with new perspectives and tools to increase student motivation and engagement. Namely, by utilizing digital educational games, educators can make the learning process more fun and interactive, thereby enhancing student learning. This not only helps students to acquire better knowledge, but also develops their independent learning and problem-solving skills. This study demonstrates the potential of digital educational games in modern education, showing that they can be effective teaching tools that help students learn in a more fun and interactive environment. It can also provide a new direction for relevant practitioners in today's complex and competitive games market.

10

Ryan, M.-L. (2001). Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media. Johns Hopkins University Press.

This book explores the role of immersion and interaction in literature and electronic media. Author Marie-Laure Ryan analyzes the impact of virtual reality technology on narrative, introducing the core concepts of immersion and engagement. She argues that virtual reality is not just a technology, but an art form that allows the reader or viewer to be fully immersed and engaged in the story. The main theoretical components of the book include Poetics of Immersion and Poetics of Interactivity. Poetics of Immersion looks at how readers can be drawn into the world of a text and feel immersed in the experience. Poetics of Immersion, on the other hand, explores how readers can influence the development of a story through choice and engagement. Ryan also discusses the fate of traditional narrative models in digital culture, arguing that digital media offer new possibilities for narrative.

This book provided me with ways to understand modern narratives, especially in the context of virtual reality and interactive media. Ryan's research highlights the importance of immersion and interactivity in both literature and electronic media, and provides an important theoretical framework for future studies of literature and media. Today, with a variety of new media approaches and virtual technologies flourishing, a solid theoretical foundation is of great value to practitioners.

[fangxuanli]

Source & Significance: Blog Post #10

Virtual Reality: Extreme Realism or Absence of Realism? Take Half-Life Alyx for instance

Virtual Reality (VR) technology has revolutionized digital media, providing immersive experiences that challenge traditional notions of reality. The extreme realism of VR is perfectly embodied in Half-Life: Alex, which for me is considered to be the best immersive VR game title in years. The game was developed with the VR platform in mind creating a highly interactive and immersive gaming environment, with an immersive and intuitive analogue physics system that is arguably groundbreaking.

Figure 1, Half-Life Alyx poster

According to Earnshaw (2018), digital media has changed the traditional media paradigm through user-generated content and interactive experiences. In Half-Life: Alyx, players interact with the game world using VR controllers that allow players to grab objects to solve puzzles, fight, and interact. Moreover, the player's freedom to manipulate objects is not limited by their actual use in the level, and the player can be very creative with their interactions; for example, you can place an otherwise useless bucket on a non-humanoid enemy monster to make it lose its view of you. This kind of freedom blurs the lines between the virtual and the real, creating a sense of extreme reality in a VR game.

However, due to the limitations of current VR technology, such as graphical fidelity and motion tracking, it may break the immersion and remind the player of the artificial nature of the experience. This unenviable duality, created by the technology it is subject to yet benefits from, is arguably at the heart of the Half-Life: Alyx VR experience, a nature in which extreme realism and absence of realism coexist.

Figure 2, game shots, encountering enemy in game

Half-Life: Alyx demonstrates that Extreme Realism and Absence of Realism coexist in VR technology under the current technological conditions, and it can be said that at least under the current technological conditions, VR is still very difficult to achieve extreme realism in the true sense of the word, but taking into account the various adverse effects that extreme realism may bring, this absence of realism may be the best buffer for VR technology to enter the next era.

References

Rogers, K., Karaosmanoglu, S., Altmeyer, M., Suarez, A., & Nacke, L.E., 2022. Much Realistic, Such Wow! A Systematic Literature Review of Realism in Digital Games. CHI Conference on Human Factors in Computing Systems (CHI '22), New Orleans, LA, USA, April 29-May 5, 2022. ACM. Available at: https://doi.org/10.1145/3491102.3501875.

Earnshaw, R. (2018). Digital Media Theory. SpringerLink. Available at: https://link.springer.com/chapter/10.1007/978-3-319-73080-6_1

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Source & Significance: Blog Post #9

Analysis of Affective Intensity in Death Stranding

Developed by Hideo Kojima, Death Stranding is a game that embodies the concept of affective intensity through its unique gameplay and narrative structure. Players will be the main character Sam, traveling through a post-apocalyptic world with dangerous terrain and delivering packages using almost only feet.

Figure 1, Death Stranding poster

Players will experience a range of affective stage, such as tension and fatigue from carefully maneuvering the protagonist across mountains for long periods of time, to anxiety and fear when encountering a hostile entity (BT), to relief and a sense of achievement when successfully completing the delivery of goods. This emotional rollercoaster is critical to keeping players interested and engaged.

Figure 2, game shots, encountering "BT"

The game is designed with an asynchronous multiplayer mode, where the only way players can interact with other players is by leaving behind useful items or buildings and "liking" them. This system subtly builds a sense of community into the game, not only enhancing the affective depth of the game, but also encouraging players to connect with others.

Figure 3, game shots, other players' buildings

The game's detailed environmental design, atmosphere shaping (the vast majority of the game's framing and music comes from Iceland) and complex narrative draws players into its world, making them feel like they are part of the story. This immersion is a key factor in the game's ability to elicit a strong emotional response and keep players engaged.

Figure 4, game shots, beautiful landscape in game

Death Stranding is a game that was ahead of its time in terms of its design concepts, and despite the controversy surrounding its confusing "delivery" gameplay system at the time of its release, it was successful in its design and handling of the subtle control and mobilization of the player's emotions.

References

Long, J. (2024). Death Stranding: A New Digital Ecology. Brigham Young University. Available at: https://scholarsarchive.byu.edu/etd/10291/

Bailey, K., West, R. & Anderson, C.A. (2012). The Influence of Video Games on Social, Cognitive, and Affective Information Processing. Oxford University Press. Available at: https://academic.oup.com/edited-volume/27967/chapter/211610166

Ash, J. (2013). Technologies of Captivation: Videogames and the Attunement of Affect. Body and Society, 19(1), pp.27-51.

[fangxuanli]

Source & Significance: Blog Post #8

Does "Race" Exist or Not? Analysis of Green Book

Vivian Chou's (2017) article, "How Science and Genetics are Reshaping the Race Debate of the 21st Century," argues that "while race lacks a biological basis, it remains a potent social and political construct." Remind of the a movie I watched years ago, Green Book (2018) by Peter Farrelly.

Green Book is about the journey of African American pianist Dr. Don Shirley (Mahershala Ali) and his Italian American driver Tony Lip (Viggo Mortensen) through the segregated South.

Figure 1, Green Book poster

Despite his high musical talents and skills, Dr. Don Shirley faces systemic racism and social exclusion. Chou pointed out that race, while biologically unreal, has real consequences in society. And at least in the social context that the film is trying to portray, these were real things that were happening.

Figure 2, movie stills, conflict of "race"

Chou emphasizes that the social construction of race is closely intertwined with other social hierarchies. This movie deals with the intersectionality of race and class. Tony of Green Book, although white, also experiences class-based prejudice, which complicates his understanding of racism. He later came to accept, to some extent, this black musician sitting in his backseat. The scene was still pretty funny to me at the time, but after the movie was over, I did have some ideas about what the movie was trying to say.

Figure 3, movie stills, Tony Lip (Viggo Mortensen) and Dr. Don Shirley (Mahershala Ali)

This movie moved me by showing how race as a social construction affects individual lives and social interactions, Green Book highlights the ongoing impact of race and class discrimination, reinforcing the need to critically address these social constructions.

References

Chou, V. (2017) 'How Science and Genetics are Reshaping the Race Debate of the 21st Century', Science in the News. Available at: https://sitn.hms.harvard.edu/flash/2017/science-genetics-reshaping-race-debate-21st-century/

[fangxuanli]

Source & Significance: Blog Post #7

Interstellar and Bechdel Test

Christopher Nolan's Interstellar (2014) is my favorite sci-fi movie of all time, and I was curious to see what would happen if I were to test this movie with the Bechdel test (a measure of female representation in a work of fiction that requires the work to have at least two named female characters whose dialogue does not involve men).

Figure 1, Interstellar poster

There are two significant female characters in the movie; Murph (Jessica Chastain) and Dr. Amelia Brand (Anne Hathaway).

Figure 2, movie stills, Murph (Jessica Chastain)

Murph's character figures prominently in the plot as she interacts primarily with her father, Cooper (Matthew McConaughey), and her brother. Her scientific achievements and personal growth are shown through her relationship with her father and her mission to solve the gravitational equations, which is also closely related to her father's mission. Dr. Brand, is portrayed as a capable scientist, but her significant dialogue is primarily with Cooper and the other male characters and focuses primarily on their space mission.

Figure 3, movie stills, Dr. Amelia Brand (Anne Hathaway)

Their interactions are limited by the standards of the test. Despite the film's strong female characters, their narratives are often overshadowed by the male-centered plot, and the movie as a whole is still dominated by missions that revolve around or are dominated by male characters.

Unfortunately, Interstellar fails this little test, which made me think about gender representation in science fiction films. Although Interstellar is an extremely good and successful movie, and Bechdel test itself has some flaws and shortcomings (which were mentioned in my previous paper), some of the issues it exposes are worth pondering.

References

Britannica. (2024). Bechdel Test. Available at: https://www.britannica.com/topic/Bechdel-test 

StudioBinder. (n.d.). What is the Bechdel Test: And How to Actually Pass It. Available at: https://www.studiobinder.com/blog/the-bechdel-test/ 

[fangxuanli]

Source & Significance: Blog Post #6

Bechdel test, find out and some thoughts

The Bechdel test is a method used to assess the representation of women in films and other fictional works.

It was popularized by cartoonist Alison Bechdel in her 1985 comic strip "Dykes to Watch Out For". The test consists of three criteria: there must be at least two named female characters in the work; these characters must talk to each other; and their dialogue must be unrelated to men. Some versions of the test also require that these female characters have names.

Figure 1, Bechdel test

The Bechdel test highlights the presence (or lack thereof) of women in fictional works and looks at gender inequality in the media. It is a simple but effective tool to measure whether women are given meaningful roles and interactions in stories. While passing the test doesn't necessarily mean that a production has a strong representation of women, it does indicate a basic level of gender inclusivity in a production.

I think the Bechdel test is a valuable starting point for discussions about gender representation in media. It raises awareness of the often overlooked issue of female characters being marginalized or reduced to stereotypes. However, I feel that it somehow has some limitations as well. The test does not consider the quality of the interaction or the depth of the role. And, it ignores other factors of identity such as race and social class.

The simplicity of the Bechdel test is both its strength and its weakness. It provides a clear, easy-to-apply indicator that can quickly highlight gender differences. However, because it does not take into account the depth or context of female characters, it can sometimes give the illusion of progress. For example, a film may pass the test but still portray women in a stereotypical or superficial way.

References

Bechdel, A. (1985). Dykes to Watch Out For. Available at: https://en.wikipedia.org/wiki/Bechdel_test

Britannica. (2024). Bechdel test. Available at: https://www.britannica.com/topic/Bechdel-test

[fangxuanli]

Source & Significance: Blog Post #5

Syntagmatic and Paradigmatic Analysis for Ezio in Assassin's Creed II

In "The Material Word: Some Theories of Language and Its Limitations," Silverman and Torode (1980) proposed the theories of Syntagmatic and Paradigmatic, and their theories can equally be used to analyze some visual elements. Today I will use this theory to analyze the visual image of the Ezio Auditore da Firenze, the main character in Assassin's Creed II.

Figure 1, Assassin's Creed II poster

Syntagmatic analysis reveals the manifest content of a content. Ezio's iconic attire, including the hood, cloak, and hidden blade, form a coherent visual sequence that symbolizes his role as an assassin. The patterned motifs on his attire, as well as the style, reference Renaissance Italian style, and it can be argued that each element was carefully chosen by the production team to convey a sense of stealth, agility, and nuance in the representation of his role as an assassin who is also a vengeful, fallen aristocrat.

Figure 2, outlooking of Ezio as a assassin

Paradigmatic analysis uncovers the latent content. For Ezio's image, this means if we try some possible alternative visual choices. For example, replacing his traditional assassin's hood with a more modern headdress would change the perception of his character. Paradigmatic highlights the importance of each element in maintaining the historical and cultural authenticity of the character. Ezio's attire is not only functional but also symbolic, reflecting the hidden nature of his heritage (his attire and weapons) and mission.

References

Silverman, D. and Torode, B. (1980) The Material Word: Some Theories of Language and Its Limitations. London: Routledge and Kegan Paul.

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Source & Significance: Blog Post #4

Remediation in the game Resident Evil 7: Biohazard

Today I am going to discuss Remediation in the game Resident Evil 7: Biohazard, a theory proposed by Bolt and Grusin (1999). The game redefined the survival horror genre by creating an engaging horror experience through Immediacy and Hypermediation.

Figure 1, Resident Evil 7: Biohazard poster

Immediacy is achieved in Resident Evil 7 through a first-person perspective, which minimizes the sense of mediumship and, combined with the game's deliberate reduction of the UI's presence in the gameplay perspective, greatly enhances the player's immersive experience. The main flow of the game takes place on the fictional Baker family estate, and the use of photo-realistic graphical textures and detailed environmental design further enhances the sense of immediacy, drawing the player deeper into the game world.

Figure 2, game shots, one basement entrance of Baker family estate

Hypermedia is evident in the game's interface and narrative structure. The game frequently reminds the player of its mediated nature through the use of videotapes that can be explored and found by the player and a visible and limited inventory design system. These elements highlight the presence of the medium and encourage the player to reflect on the constructed nature of the game and the game world. This duality of immediacy and hypermedia creates a layered experience that is both immersive and self-aware.

Figure 3, Game Shots, watching a videotape with a TV in the game, this videotape was an early release playable demo of the game

The narrative and thematic elements of Resident Evil 7 reflect the concept of Remediation. The game changes the narrative mode of the previous instalments (third person perspective, exaggerated motion design system) and returns to the style that the series initially wanted to present [i.e. carnal, psychological horror and miniscape (箱庭ゲーム) exploration]. The game revisits and reinterprets classic horror themes, combining them with modern gameplay mechanics and narrative techniques, a fusion of old and new media forms that not only pays homage to the series' roots, but also reintroduces a new possibility in horror game design for contemporary audiences.

Figure 4, game shots, pure corporeal horror in Resident Evil 7: Biohazard

Resident Evil 7 effectively utilizes the principles of reenactment to create a rich, immersive horror experience that engages players on multiple levels. By balancing immediacy and hypermedia, the game offers a horror exploration that is both deeply engaging and critically reflective.

References

Bolter, J.D. & Grusin, R. (1999). Remediation: Understanding New Media. MIT Press.

McGreevy, A., Fawcett, C., & Ouellette, M.A. (2020). The House and the Infected Body: The Metonomy of Resident Evil 7. In A. Görgen & S.H. Simond (Eds.), Disease in Digital Games: Theories, Topics, Analyses (pp. 254-275). Lit-Verlag. Available at: https://digitalcommons.odu.edu/english_fac_pubs/155/

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Source & Significance: Blog Post #3

Transmedia Storytelling in Star Wars

This time I want to discuss the connection between Jenkins' theory of transmedia storytelling and the Star Wars series. Henry Jenkins' theory of transmedia storytelling emphasizes the distribution of narrative elements across multiple media platforms, each contributing uniquely to the overall story. The Star Wars series encompasses films, television series, novels, comics, and video games in a rich and interconnected universe.

According to Jenkins, transmedia storytelling involves "integrating elements of a fiction dispersed systematically across multiple delivery channels". In Star Wars, the films provided the central narrative arc, while television series such as The Clone Wars and The Mandalorian expanded character backstories and introduced new plot lines. Novels and comics have further enriched the series "story by exploring in detail the events of the series" secondary characters. For example, the novel Thrawn delves into the protagonist's origins, enhancing the audience's understanding of his character's behavior in the animated series Rebels.

Figure 1, Star Wars: Episode VII The Force Awakens poster

Video games like Star Wars Jedi: Survivor allow players to interactively engage with the Star Wars universe, and Jenkins argues that transmedia storytelling encourages an "encyclopedic impulse". The medium of gaming is a great way to engage fans with the themed universe, and in some cases this may even be better than a theme park-like format.

Figure 2, Star Wars Jedi: Survivor Poster

While Jenkins acknowledges the importance of digital media, he warns against prioritizing it at the expense of other forms. The Star Wars franchise balances this well, using each medium to contribute uniquely to the overall narrative, creating a series of coherent and immersive themed experiences for the audience.

References

Jenkins, H. (2007) ‘Transmedia Storytelling 101’, Henry Jenkins, 21 March. Available at: https://henryjenkins.org/blog/2007/03/transmedia_storytelling_101.html

Vaidya, R. (2019). A Cultural Study of Disney's Star Wars: Theorizing Circuit of Culture. Nanyang Technological University. Available at: https://www.academia.edu/57663425/A_cultural_study_of_Disneys_Star_Wars_theorizing_circuit_of_culture

[fangxuanli]

Source & Significance: Blog Post #2

Alan Wake II, A Total Work of Art

Alan Wake II is a horror game I played this year. I think this game is a Total Work of Art. Total Work of Art (Gesamtkunstwerk) a concept by Richard Wagner in 1827, means artworks use many different art forms and merge them into one wonderful experience.

Figure 1, Alan Wake II poster

Alan Wake II's narrative takes players into a story that blurs the lines between reality and fiction. This narrative depth is enhanced by the game's visual design, which features a number of meticulously designed scenes that encompass such things as film art, interior design, landscape design, architectural design, and stage design. Many of the shots and lighting arrangements have a Hitchcockian flavor, and many of the scenes also reference real life scenarios and are full of artistic interplay.

Figure 2, game shots, real-life style scene

The face models of the characters in the game are from real people, and one of the key supporting characters is also the founder of Alan Wake II Game Studio (Remedy Games), who has appeared as an important character in his own games many times. During some of the narrative sequences, the player is also shown live-action footage (which is assumed to be game cutscenes during play) of the characters in the footage, which are face models dressed as their characters for the storyline, making the experience either real or virtual and giving the player a sense of make-believe.

Figure 3, game shots, Alan Wake's face model dress up like him show in a real-life talk-show in game cutscenes

The game's narrative is non-linear, but Alan Wake II's non-linear narrative isn't too confusing; as the story progresses the questions and confusions posed by the non-linear narrative are drawn out step-by-step as the game progresses and unfolds in its entirety before the player's eyes. The game's story is intertwined with reality and fantasy, but it is told in a clear way, which is something you don't see too often these days.

Figure 3, game shots, end scene

The sound design is excellent. As a horror game, Alan Wake II has a lot of creepy background sounds and sound effects, and good sound design enhances the impact of the game's visual elements. A good Total Art of Work is not possible without good sound design, and the game has a lot of musical theatre, talk show-like content, and to some extent a sense of comedy. I was impressed by the song Herald of Darkness from Old Gods of Asgard, which is performed on a large screen accompanied by a live-action performance and the player's freedom to maneuvers underneath it to advance the game's progress, making it a top-notch experience of musical, visual and gameplay interaction.

Figure 4, game shots, Alan Wake walk with music of Herald of Darkness

Alan Wake II's perfect blend of narrative, visual, auditory, and interaction definitely qualifies it as a Gesamtkunstwerk, and this fusion creates a rich, immersive experience that engages the player on multiple sensory levels, and may arguably realize Wag's vision of what a Gesamtkunstwerk is supposed to be.

References

Baskin, K. A. (2020). Waking from a Nightmare: A Meditation on Alan Wake, Narrative, and Reference. Academia.edu. Available at: https://www.academia.edu/42052120/WAKING_FROM_A_NIGHTMARE_a_meditation_on_Alan_Wake_Narrative_and_Reference

Boes, T. (2012). The Total Work of Art in European Modernism. German Studies Review. Available at: https://academic.oup.com/cornell-scholarship-online/book/20381

Imhoof, D., Menninger, M. E., & Steinhoff, A. J. (2014). The Total Work of Art: Foundations, Articulations, Inspirations. Berghahn Books. Available at: https://www.berghahnbooks.com/title/ImhoofTotal

Smith, M. W. (2007). The Total Work of Art: From Bayreuth to Cyberspace. Routledge. Available at: https://www.taylorfrancis.com/books/mono/10.4324/9780203963166/total-work-art-matthew-wilson-smith

Point'n Think. (n.d.). The Art of Alan Wake 2. Available at: https://www.pointnthink.fr/en/the-art-of-alan-wake-2-2/

[fangxuanli]

Source & Significance: Blog Post #1

How a Story being Told in Games? Narrative Analysis of Dark Souls III

In this blog, I want to talk about narratives in the video game Dark Souls III. Dark Souls III has a very unique way of telling stories that differs from many other works of art. Jesper Juul in his article "Game Telling Stories?" talks about the differences of narrative between games and traditional media (like novels and movies). And Dark Souls is a great example to support this idea. Juul also mentions the interactivity of games, emphasizing that there's no narrative in the interactivity. Although in Dark Souls III these two parts are well balanced.

Figure 1, Dark Souls III poster

Juul argues that interactivity is key to game storytelling. Dark Souls III stands for its environmental storytelling, in this game the player will not be given straight and clear stories through cutscenes while playing the game. Much of the time during gameplay players will need to interact with environments and use different parts such as, descriptions of certain equipment or weapons set in levels or dropped by enemies and sometimes even the places of meeting NPCs in game, as clues to make a whole story. This process needs a player's interactivity and only through this way a story can be known in this game.

Figure 2, game shots, describes for spells in game

Dark Souls III uses a very confusing time-space arrangement in the game process, a non-linear narrative structure. Just like what I mentioned before, players need to put fragments of the game to put together a whole story. But these fragments can be from different time spaces in the game background, as you go into different levels in the game, the time and space change. And you always need to combine fragments from different levels to put a more complete story. This encourages the player to revisit the areas they have been before, and to reevaluate their understanding of the story as they uncover new information.

Figure 3, game shots, different time-space level in game (future scenes)

Juul emphasizes player agency in shaping game narratives.  Dark Souls III's story can be changed by the player's choices and activities, if a player attacks a friendly NPC in certain time, the after story concerning that NPC will be changed, sometimes this can cause an end of another NPC's story.

The game's narrative methods leave a lot of room for players to imagine and deduce, many players even set up game stories and background research group for this game. However, especially due to the lack of explanation and additional storytelling from the official studio (FromSoftware), players can only get a vague, controversial story and background of this game. This could be the disadvantage of letting all the narratives through player's inactivity along with non-linear narratives. However, most of the time this game tells an epic story through its rich and immersive narratives. The game's environmental storytelling, non-linear time structure, and emphasis on player agency contribute to a unique narrative experience.

References

Juul, J. (2001). Games Telling Stories? Game Studies, 1(1). Available at: http://www.gamestudies.org/0101/juul-gts/

Meade, N. (2021). For That Is Our Curse: How the Dark Souls Games Create an Existential Experience. Middle Tennessee State University. Available at: https://jewlscholar.mtsu.edu/bitstreams/52b65fbb-8a98-4ead-a048-a0d0d4318495/download

Weddle, A. F. (2020). User Experience and Narrative in the "Souls" Series. Academia.edu. Available at: https://www.academia.edu/44555533/User_Experience_and_Narrative_in_the_Souls_Series