Weekly Writing for Rhetoric of Gaming F2017

https://docs.google.com/document/d/17CBL_Jg8FaFwxxS3q1zYXoLHXiONbPDDMlBF7W1CfLs

As a note: I had sent my project to you as a word document last Friday, December, 15th, but never heard back from you

https://docs.google.com/document/d/1HdYhe_lMP4rIZ_gp0i5GXQ_DBU6fgvG8IM84cqMQCYY/edit?usp=sharing

https://docs.google.com/document/d/1QTTF0XbtjQlYG1u2YOMp1gGKq2-2ToIoy5vv9LY1wyk/edit?usp=sharing

1. Secondary source shared via the weekly blogs, no later than 1159 11/29 (5%)YES
2. Presentation of topic proposal, in class 11/30 (5 %) YES
3. Defense of topic proposal  in conference with me no later than 11/29 (5%)YES
4. An initial draft project in the format it will be submitted (either google docs or web page) linked from the blogs no later than 12/5 (5%)YES
5. Commenting on two other writing projects via the blogs, on or before 12/8 (5%);YES
6. A draft conference with me, on or before 12/8, show substantial progress on a drafted project (5%)YES
7. A near-final draft, shared/linked from a post on our shared blog, on or before 12/13 (5%);YES
8. A final round of commenting on two drafts, due on or before 12/15 (5%);YES
9. The quality of the finished project, due on 12/16 (55%)YES

http://www.flowlab.io/game/play/771503

Preface to 3001 A Space Story

My game is supposed to represent an emergent system, one that arises out of a single urge: progression. I wanted to represent that urge through the act of play. More specifically, the act of playing a 2D platformer. As such, I wanted my game to utilize all the tropes that we are accustomed to expect in a game of this genre, and even bend them a little. I hope that my game brings these tropes into consciousness, while also bending them slightly, making a larger commentary on the idea of progression in play itself.

The idea for this game came to me while I was developing a basic platformer, so I could learn the basics of the program I was using, Flowlab. I created two levels and connected them with an object that would bring the player to the next level when touched. I had no third level to connect the second level to, so I just connect the second one back to the first. For some reason this reminded me of one of my favorite movies, 2001: A Space Odyssey. I always interpreted the ambiguous ending of that movie as an emergent system, where Dave transcends and becomes the interstellar force that places the first monolith that starts the movie. This of course is just my interpretation, but regardless, I then had the idea to adapt this movie to the pixelated screen.

I then created a mock up of the first level, a recreation of the first scenes in that movie. I created all the sprites and designed the level to look like the movie, but I didn’t know how to tell the story of that opening scene within the gameplay. In the movie, the early-human apes have conflict over a water source, and the larger and more intimidating apes scare the others away. The group that is kicked out is later visited by the mysterious monolith, which imparts hidden knowledge to one of the apes. He then learns how to use tools, using a bone to smash things. With this knowledge he returns to the water source and beats one of the rival members, scaring them away and reclaiming the territory. Unsure of how to tell convey this scene in a 2D platformer, I recalled the standard tropes of the genre. In platformers, the player usually moves right and jumps on enemies to kill them. So here, the tool of domination was the ability to jump. So I took the significance of the bone-tool, and placed it in that ability. In order to make the player feel weak without that ability, I needed them to fail without it, so I designed the first encounter to be impossible. Upon starting the game, the player would seek to progress, inevitably moving right, but that progress would be halted by an enemy ape which you could not kill. After enough tries, the player would decide to seek progress elsewhere and move explore the left. Here they would learn how to jump, allowing them to progress through the rest of the level. I wanted to convey the confusion and frustration that comes from an obstacle, and the aha moment that comes from knowledge gained through exploration.

The game then becomes one of domination which is common of games in the genre. The player kills all enemy apes and reclaims the water source for their fellow apes. This is very much a standard game, but also a standard, instinctually rewarding form of progression. Throughout the rest of the game, this form of progression does not return, and instead the player uses their ability to jump for progression, but not domination. As a game, this is much more boring. The player progresses, but with very little threat against them, making that progression much less satisfying. This way another deliberate choice on my part to convey the commentary that Kubrick seems to be making. Our drive towards progression has ultimately brought us further from what makes us human in the first place. The gameplay is somewhat a bore, but the characters in the movie seem profoundly bored with space travel as well.

This is of course until players reach Jupiter and come against HAL. HAL halts the player’s progress not through violence, but through imposition. He controls the doors, not allowing the player to move right, like they are inclined to do. The player must then negotiate a series of tasks in order to overcome him, which allows further progress.

The final level of course flips the idea of progress on its head entirely, placing the player in a room where they can do nothing. With their agency stripped the them, they might run to either side or jump around, but their attempts are fruitless. I wanted the player to feel confused here, and make them question the level and their purpose within in. That questioning would then turn inward, perhaps asking themselves why they are playing my game in the first place. Their reward for this is essentially nothing, and after the level plays itself out, the game restarts. Much like life, progress is subjective and perhaps life should be considered more than a series of objectives to conquer.

1. Topic Proposal, containing a topic, a working thesis, and at least one primary (game object) and secondary source shared via the weekly blogs, no later than 1159 11/29 (5/5%)
2. Presentation of topic proposal, in class 11/30 (5/5 %)
3. Defense of topic proposal  in conference with me no later than 11/29 (5/5%)
4. An initial draft project in the format it will be submitted (either google docs or web page) linked from the blogs no later than 12/5 (5/5%)
5. Commenting on two other writing projects via the blogs, on or before 12/8 (5/5%);
6. A draft conference with me, on or before 12/8, show substantial progress on a drafted project (0/5%)
7. A near-final draft, shared/linked from a post on our shared blog, on or before 12/13 (5/5%);
8. A final round of commenting on two drafts, due on or before 12/15 (5/5%)

https://docs.google.com/document/d/1_pfzCxag2P9_Kv1qisrKiCg_f2_5jPlgLhUpf1PKmEc/edit

https://docs.google.com/document/d/1c8V70HlgAVEqjTaF8tXGoLBo1xNtIE6_ezJyptT_W7o/edit

https://rhetoricofgaming.digitalwcu.org/gamingthebsed/wp-content/uploads/2017/12/The-Road-to-Becoming-an-English-teacher-at-WCU-Final.html

Topic Proposal, containing a topic, a working thesis, and at least one primary (game object) and secondary source shared via the weekly blogs, no later than 1159 11/29 (5%) Yes for both Steph and Emily
Presentation of topic proposal, in class 11/30 (5 %) Yes for both Steph and Emily
Defense of topic proposal in conference with me no later than 11/29 (5%) Yes for both Steph and Emily
An initial draft project in the format it will be submitted (either google docs or web page) linked from the blogs no later than 12/5 (5%) for both Steph and Emily
Commenting on two other writing projects via the blogs, on or before 12/8 (5%); for both Steph and Emily
A draft conference with me, on or before 12/8, show substantial progress on a drafted project (5%) Yes for both Steph and Emily
A near-final draft, shared/linked from a post on our shared blog, on or before 12/13 (5%); Yes for both Steph and Emily
A final round of commenting on two drafts, due on or before 12/15 (5%); Yes for both Steph and Emily
The quality of the finished project, due on 12/16 (55%) Yes for both Steph and Emily

https://docs.google.com/document/d/17NXP4ZpGpPoaI1p6TZDD-qyW7jJNOyXN8rwfH4rSEkc/edit

1. Topic Proposal, containing a topic, a working thesis, and at least one primary (game object) and secondary source shared via the weekly blogs, no later than 1159 11/29 (5%) Yes
2. Presentation of topic proposal, in class 11/30 (5 %) Yes
3. Defense of topic proposal  in conference with me no later than 11/29 (5%) Yes
4. An initial draft project in the format it will be submitted (either google docs or web page) linked from the blogs no later than 12/5 (5%) No
5. Commenting on two other writing projects via the blogs, on or before 12/8 (5%); No
6. A draft conference with me, on or before 12/8, show substantial progress on a drafted project (5%) Yes
7. A near-final draft, shared/linked from a post on our shared blog, on or before 12/13 (5%); No
8. A final round of commenting on two drafts, due on or before 12/15 (5%); Yes
9. The quality of the finished project, due on 12/16 (55%) Yes

https://docs.google.com/document/d/1y5T_CPDipVTjJbbxC8jMpbj7eBcRfKZfqlGA4pnBN-s/edit?usp=sharing

1. Topic Proposal, containing a topic, a working thesis, and at least one primary (game object) and secondary source shared via the weekly blogs, no later than 1159 11/29 (5%) YES
2. Presentation of topic proposal, in class 11/30 (5 %) YES
3. Defense of topic proposal  in conference with me no later than 11/29 (5%) YES
4. An initial draft project in the format it will be submitted (either google docs or web page) linked from the blogs no later than 12/5 (5%) YES
5. Commenting on two other writing projects via the blogs, on or before 12/8 (5%);YES
6. A draft conference with me, on or before 12/8, show substantial progress on a drafted project (5%) YES
7. A near-final draft, shared/linked from a post on our shared blog, on or before 12/13 (5%); YES
8. A final round of commenting on two drafts, due on or before 12/15 (5%); YES
9. The quality of the finished project, due on 12/16 (55%) YES

Here’s my finished game! Unfortunately, I had trouble uploading the soundtrack sample because I used an app that wouldn’t convert to MP3 or WAV for me somehow. It’s prob me. Anyways, though,  I hope you all enjoy my game!

https://rhetoricofgaming.digitalwcu.org/escapewiththeseasons/

1. Topic Proposal, containing a topic, a working thesis, and at least one primary (game object) and secondary source shared via the weekly blogs, no later than 1159 11/29 (5/5%)
2. Presentation of topic proposal, in class 11/30 (5/5 %)
3. Defense of topic proposal  in conference with me no later than 11/29 (5/5%)
4. An initial draft project in the format it will be submitted (either google docs or web page) linked from the blogs no later than 12/5 (4/5%)
5. Commenting on two other writing projects via the blogs, on or before 12/8 (5/5%);
6. A draft conference with me, on or before 12/8, show substantial progress on a drafted project (5/5%)
7. A near-final draft, shared/linked from a post on our shared blog, on or before 12/13 (4/5%);
8. A final round of commenting on two drafts, due on or before 12/15 (5/5%)

1. Topic Proposal, containing a topic, a working thesis, and at least one primary (game object) and secondary source shared via the weekly blogs, no later than 1159 11/29 (5%) YES
2. Presentation of topic proposal, in class 11/30 (5 %) YES
3. Defense of topic proposal  in conference with me no later than 11/29 (5%) YES
4. An initial draft project in the format it will be submitted (either google docs or web page) linked from the blogs no later than 12/5 (5%) YES
5. Commenting on two other writing projects via the blogs, on or before 12/8 (5%); YES
6. A draft conference with me, on or before 12/8, show substantial progress on a drafted project (5%) YES
7. A near-final draft, shared/linked from a post on our shared blog, on or before 12/13 (5%); YES
8. A final round of commenting on two drafts, due on or before 12/15 (5%); YES
9. The quality of the finished project, due on 12/16 (55%) YES

Here is the finished version of our game and website!

We had so much fun creating this and we hope you enjoy!

ALMOST FINAL DRAFT

https://flowlab.io/game/view/771503

Hey guys!

Here is a rough outline of what the general flow of my finished product is going to be. Designing a game is much harder than I anticipated, so through all my work I have only been able to create most of the assets and sprite work. I’ve been toying with some game design ideas in another in another game and will be taking some of those ideas (most haven’t worked or were difficult to get running smoothly.

I’ve also completely completed the level for the final scene of the movie, but I’m holding out on that for now. I think fans of the movie will get a kick out of it.

Let me know what you guys think so far and hit me with some suggestions!

Thanks,

Nick

P.s. The second level is a work in progress (sorry). The rocket ship you start out in will look for like one soon.

https://docs.google.com/document/d/1HdYhe_lMP4rIZ_gp0i5GXQ_DBU6fgvG8IM84cqMQCYY/edit?usp=sharing

everything about this is tentative, much is contained in a separate word file. but this is the project as it develops

Play the Game

Someone plz let us know if this works or not!! : )

https://rhetoricofgaming.digitalwcu.org/escapewiththeseasons/

Hey everyone!  I can’t get my game to work on this website, but it’s going along great. I’ll be figuring out how to embed it tomorrow. But in the meantime, here’s my notes on the game’s concept, plotline, etc. (in order) if it helps any of you get an idea of what I’m working on.

https://docs.google.com/document/d/1QTTF0XbtjQlYG1u2YOMp1gGKq2-2ToIoy5vv9LY1wyk/edit?usp=sharing

https://docs.google.com/document/d/1y5T_CPDipVTjJbbxC8jMpbj7eBcRfKZfqlGA4pnBN-s/edit

https://docs.google.com/document/d/1c8V70HlgAVEqjTaF8tXGoLBo1xNtIE6_ezJyptT_W7o/edit

Click here to see the near-final draft of our website and game!

file:///C:/Users/ecowgill12/Downloads/Escape%20with%20the%20Seasons%20(1).html

I’m honestly unsure if this link is gonna work — looks pretty fucked.  But I am loving making this.  It’s gonna be a narrative-driven game that has comedy, sadness, and critique all wrapped up in one.  I have the whole game concept mapped out, and, essentially, the main purpose of the game will be to eventually fight (with one of the options, literally fight (with a sword)) your Pop-Pop’s depression at the New Year’s Eve party.

Anyways, can anyone let me know if copying and pasting this link works for them?  Because it works for me, but that link just looks beyond repair tbh.

Here’s the link to my very rough game.

I have changed my approach for this project entirely. I am now using a simple designing software that doesn’t require coding (thank god…) to create a side scrolling adaptation of 2001: A Space Odyssey. 

“How will he do it!” you ask. Well, I’m not entirely sure myself but i have a general idea that i am working on. Here is the very rough first level which I hope demonstrates what I want to accomplish with this game. It it isn’t running smoothly, refresh the page.

I’ll be working on this pretty much daily, so depending on when someone uses this link, the game may be extra glitchy or unfinished.

Thanks!

`We have made a game about becoming a certified teacher in Pennsylvania, specifically at West Chester University of PA. The game consists of the various hoops that preservice teachers must jump through each year in order to graduate on time in four years with a teaching license and degree. Some of these hoops include: PAPA/CORE testing, Community Service Experience, Formal Admission to Teacher Education (FATE), English BSED Writing Portfolio, and the Praxis exam. The game is played in chronological order based on the same path we have to follow from freshman to senior year. For example, the PAPA/CORE testing and CSE must be completed within the first year and a half of your program, and the Praxis is completed at the end of all coursework. Every milestone must be completed with either a quantified value (i.e., a score such as on a PAPA exam) or a PASS/FAIL (i.e., English BSED Writing Portfolio). The game will be a role playing game in which the player has to complete each step in order to move onto the next. There are required actions the player must complete in order to finish each step. If the player fails to complete their actions, they are forced to restart from the beginning. The beginning being acceptance into West Chester University and the end being Graduation. The point of our game is to illustrate the difficulty and complexity of the student certification process.

Video games can cause a plethora of emotions in the player. Emotional deaths in a game’s story have reduced the manliest of men to mere blubbering babies. Wining a well fought battle or completing an arduous task causes a swell of pride and happiness in the player. But these emotions play second fiddle to the most common in video games: rage. Every gamer has experienced the burning desire to throw controllers, scream at the screen, or send hate mail to an opponent who was obviously better than them. With more and more multiplayer modes being the prominent aspect of a video game, sending hate mail is becoming the more popular option. Also, controllers are much more expensive than what they used to be so throwing and breaking one would possibly break the bank.

I get hate mail at least once whenever I play XBox and sometimes even more than that. No matter if I do well or if I don’t perform that well, hate mail will be sent around. If I perform well, hate mail tends to  be sent from the other team. If I perform terribly, hate mail can either be sent from the other team or even my own teammates. Also, the frequency of hate mail primarily depends on the game I play. More intense games with competitive rankings in their multiplayer modes like Rainbow Six Siege and Overwatch give rise to more negative communication between team members and opponents. Casual games less focused on rankings like Rocket League and Halo have less of an opportunity and less frequent hate messaging. The gameplay aspects of these games can lead to the creation the personality of the game’s surrounding communities. Certain communities are known for being more toxic while others are more relaxed. The different mechanics in the gameplay lead to how aggressive or casual their surrounding communities can be.

https://docs.google.com/document/d/1Cw2OtPu-xVY0g1fbNXMAs1Lyno4wy8t-KtUEWb-TYDA/edit

(I posted it in the google doc on the 4th and posted it in here today just to be sure)

https://docs.google.com/document/d/1c8V70HlgAVEqjTaF8tXGoLBo1xNtIE6_ezJyptT_W7o/edit 

https://docs.google.com/document/d/1QTTF0XbtjQlYG1u2YOMp1gGKq2-2ToIoy5vv9LY1wyk/edit?usp=sharing

https://theroadswetravelgame.wordpress.com

UPDATE: 12/11

Randall gave us another cite to work from instead of the original one I created.

Here’s my final Annbib, in case we are also supposed to put this here: https://docs.google.com/document/d/1MP5L1K7VcJ0x8-uI4B61OZ6rRYuoZGJvVi_aU6EfaLU/edit

https://docs.google.com/document/d/1W1euSwi6DHTtwUWQK8m2bVca4VHny1aFASP2iIP9DkY/edit?usp=sharing

https://docs.google.com/document/d/1d7CcEroCJCilI60OYwhfUJncEw9XWsniCRqrKozBCOg/edit?usp=sharing

For my second project I will be looking at the spectrum of difficulty within games. Recently, there have been a few games released that deal with this topic, and all of which fall onto different areas within said spectrum. Cuphead, Getting Over It, and Crash Bandicoot N. Sane Trilogy, are the three main games I’ll be discussing, along with a few others also made by Bennet Foddy, who was the creator of Getting Over It.

The discourse of difficulty can present itself within games as a technical issue, something that was unconscious and therefore a potential fault, but it can also be purposeful and functional. Cupheads release especially was met with intense criticism over its intentionally trying game play, and that controversial communication has brought to light ideas of assured victory, positive reinforcements, and cyclical purposes. Overall, my project will center on how difficulty is utilized, what it does, how it does it, and why it can be so divisive.

Secondary source: Plato’s 7th Letter, file:///C:/Users/Owner/Downloads/EpistleVII.pdf

For my second project, I plan on exploring race as they appear in fantasy video games, in particular examining the proclivity of Scandinavian/North European tropes inspired by Tolkien and how these effect the level of diversity that appears in games. Additionally, exploring how the marginalization of non-human species in games and comparing them to marginalization of real life peoples also serve as a potential avenue for writing. The main games I will be focusing on are The Elder Scrolls V: Skyrim, Guild Wars, and possibly the Mass Effect series, to provide a sci-fi perspective to enhance the fantasy bits.

A source with words in it that might prove useful is  https://uta-ir.tdl.org/uta-ir/bitstream/handle/10106/25153/Simpson_uta_2502M_13243.pdf?sequence=1&isAllowed=y

For my project, I want to explore the differences in game play and their surrounding communities. Certain games have different kinds of players and varying aggression from those players. In specific video games, the players are serious as can be whereas in other games, the surrounding social communities are relaxed. I want to explore why this is and what causes these differences in communities through the game play.

Video Game for research – Rainbow Six Siege, Rocket League

Secondary Source for research – Exploring success factors of video game communities in hierarchical linear modeling: The perspectives of members and leaders (http://www.sciencedirect.com/science/article/pii/S0747563209000302?via%3Dihub)

For Project 2 I plan on exploring design and it’s significance in games. Document design is important in texts, movie posters as well as gaming to clarify a target audience, or message. For my 3 game sources, 2 are going to be a board game and video game. I also plan on talking about commercials ways certain games are advertised towards specified audience and the aspects they choose to emphasize.

Source: http://journals.sagepub.com.proxy-wcupa.klnpa.org/doi/pdf/10.2304/elea.2010.7.1.21

Proposal – Project 2 – 11-29-17

Topic Proposal: For our project we want to work together to create a game and a website/guide for that game. We are thinking of creating an educational game that promotes an interest in literature to individuals who  enjoy playing video games more than reading books. Our game will use intertextuality to draw upon moments from a specific short story in an attempt to motivate the player and/or teach them important lessons that can be gleaned from the story. Our hope is that we can create a game this is entertaining and educational (NOT boring!).

Primary Source: As I Lay Dying  (the potential story we may draw upon for the game)

The Stanley Parable (game)

Potential Secondary Sources: 

Jolley, Kristie. “Video Games to Reading: Reaching out to Reluctant Readers.” The English Journal, vol. 97, no. 4, 2008, pp. 81–86. JSTOR, JSTOR, www.jstor.org/stable/30047252.

Nicholson, Scott. “Reframing Gaming.” American Libraries, vol. 39, no. 7, 2008, pp. 50–51. JSTOR, www.jstor.org/stable/25650027.

Adams, Megan Glover. “Engaging 21st-Century Adolescents: Video Games in the Reading Classroom.” The English Journal, vol. 98, no. 6, 2009, pp. 56–59. JSTOR.

Obviously, there are plenty of reasons to play games, but the one I intend to focus on is our drive to achieve — to better ourselves and our skills.  Games offer an outlet through which we can set goals for ourselves, capable of being completed and subsequently furthered over and over.  This, I’ll argue, is part of what makes games work and play worthwhile.  And such a process takes place on almost any game medium, from shorter games based on replay value (like Pac-Man and the Binding of Isaac) to larger games based on continuous play (such as RuneScape and other MMORPGs).

Potential Primary Sources: RuneScape, Ms. Pac-Man, Binding of Isaac

Potential Secondary Source: “The Ideal Self at Play” by Przybylski et. al (the section on intrinsic motivation)

I may also change my topic to how video games are positive for cognitive development.  And I will compare their current treatment to the historical treatment of novels (to combat “You shouldn’t be gaming…  you should read a book.”).

Mortal Kombat is a fighting game that has remained relatively popular since its initial launch in 1992. The game is known for its extreme violence. In particular the “fatality moves” are extremely gory and require a certain pattern of buttons to be pressed in order to perform one. I have been told this game has a plot, but whenever I have played it has been multiplayer mode, where the aim is to kill the other player before they kill you. One of the aspects of this game that I find most interesting is that anyway can play it. I played this for the first time the other day and beat my opponent who plays this much more often. This is mainly do to the fact that this would be described as a “button masher” game. Anyone who slams down on a bunch of random buttons has a chance of winning.

https://playoverwatch.com/en-us/

The main basis of play in Overwatch stems from the multiplayer aspects, primarily the quickplay or competitive game modes. These two modes have similar play styles with the only difference being match length. Quickplay or competitive either utilizes an “escort the payload” or a “capture the point” type of game where there is a defending team and a offensive team. In this, there are over 20 different kinds of characters with differing abilities and skill sets. The different abilities is impactful for players in one of two ways: either their character fits that person’s play style or they know what would aid their team toward victory. This also embraces teamwork and teams that work together  and communicate are often met with victory. This gives the player an identity to latch onto while emphasizing team work through its game modes. The identity is either met through the category of player they choose or the literal character they choose.

The recent spike of celebrity sex offenders being reported, and the rise of the #metoo on Twitter argues not that more sex offenders are around, but rather that the hashtag invites people with similar experiences to come forward. In the same way, the hashtag argues that knowing that someone has a shared experience with someone else will make them more likely to vocalize this shared experience. In the same way, when a student is in class, they may feel self-conscious about a certain interest or experience that they have had, but when a professor introduces a concept that is near this interest or experience, students are likely to speak out about it. These examples argue that collective experience is equal to vocalization of experience; if something is culturally shared, it is culturally vocalized. The newfound vocalization of a shared experience is not representative of a new frequency of the experience, but rather a feeling of normalcy in having the experience.