Author: DOMENICO

Juuls, Jesper. “A clash between game and narrative.” A clash between game and narrative, www.jesperjuul.net/thesis/.

This essay by Jesper Juuls attempts to explore the idea of narrative within game as a form of interactivity, and whether or not games that are narrative-driven, such as interactive fiction, can be constituted as games.  While not specifically tied to any works, Juuls’ piece helps to set the foundation for the general concept of a game and the concept of interactivity as a form of play. For this reason, I choose to include it as further cement on the foundation that is our collective definition of the game and of play.

www.jesperjuul.net/thesis/

In this portion of Bogost’s article, he attempts to explain procedurality in video games as the necessary constraints that define a game’s parameters, as well as its limitations.  The concept of process intensity, understood as how a procedural game utilizes process over data, comes with the notion of meaningful expression, and defines a game as a form of artistic expression, rather than a tool like a spreadsheet or word document.  What I fail to notice, however, the ways that procedurality impact the player and the player’s interaction with the game.  The concept presented here only seems pertinent to the game itself, and the relationship between game and player falls to the wayside.  If we are to understand the act of play as a meaningful interaction between gamer and game, then we can’t talk about the processes that make up the game without talking about this critical relationship.  Regardless, Bogost’s idea of procedurality as the separation from tool and game is both plausible and accurate, in my opinion.

The concept of a game is rooted in the idea that, as an item of play, the player interacts with the game in a way that is both meaningful and authentic.  The player needs to be inserted into a simulation, make meaningful choices within the game, and engage in play.  The question, then, is that do we engage in play, and therefore participate in a game, when we interact with a very particular type of media- an interactive novel?  We see numerous examples of interactive novels on the web today, and many we would not consider to be true games, but rather a sort of literature for a more active audience.  One studio, however, attempts to break that mold, and market the concept of the interactive novel as a game.  The studio in question, Telltale Games, has multiple different series linked to several different pop culture items, including Batman, Guardians of the Galaxy, and Game of Thrones.  But while they sell these pieces of media as games, do we really play them?  In the following passage, I will attempt to explore this idea of an interactive novel as an item of play, utilizing the Telltale Games’ various works as examples of interactive stories marketed as games, and ultimately answer the question of whether or not an interactive novel, at the magnitude of Telltale Games’ works, can be considered a game.

For my topic, I will be choosing imte number 4, “Games and Life”.  There are a plethora of games in the world today that have lessons we can incorporate into our very lives.  Unfortunately, the stigma exists that games are nothing more than a time-waster, and many individuals believe them to be a waste of time.  For my project, I hope to explain, through the use of a number of games and articles, that the art of video games is more than just a way to entertain and waste the time of the player.  Instead, the game can act as a medium for developing life skills and learning valuable lessons about the world.

 

Game: Metal Gear Solid 3: Snake Eater

Article: Eberle, Scott American Journal of Play, Rochester 6.2, 2014. (214-233)

http://www.cupheadgame.com/

“Home.” Home, www.cupheadgame.com/. Accessed 1 Oct. 2017.

Recently, a new game called Cuphead has taken the gaming world by storm.  It’s a simple game that seeks to incorporate elements of classic cartoons, such as Steamboat Willie, and bring them to a modern bullet-hell shooter game.  I really enjoy how even individuals who’ve never watched those style of cartoons are able to enjoy the beautiful artwork and soundtrack, and those who did experience that cartoon style are filled with nostalgia and awe.

When I first glanced at the syllabus and noticed we were going to be reading The Enchiridion, I was curious as to how it would factor into our course on the idea of play and the game.  As far as I was aware, the Enchiridion was a manual for the best way to live life in Greek culture.  So that got me to think, “Did the Greeks consider play an essential part of life?”  And if so, why did they find play to be so important? Much of The Enchiridion supports the notion that life, itself, is one colossal play, with all of us playing small parts. A culture that supports that kind of notion would almost certainly support the idea that the act of playing is, in it of itself, essential to life.  Other parts of The Enchiridion, however, support the idea that being playful and frivolous in life is shameful, and should be frowned upon.  So what, really, is this piece trying to say about play?  Or, rather, to what extent do we allow ourselves the freedom of play?

Eberle, Scott American Journal of Play, Rochester 6.2, 2014. (214-233)

A lot of what Scott Eberle says in this article are similar to what we heard from Huizinga and various other authors on the discussion of play.  However, Eberle offers a few very distinct differences in his definition, namely the idea that play can simply exist without pure purpose.  I feel.that conflicting ideas of this nature lend to a more thorough understanding of play as a whole, and for that reason his article resonates well with me, and is a good addition to our collection.

http://www.journalofplay.org/issues/6/2/article/2-elements-play-toward-philosophy-and-definition-play

In the latter half of Huizinga’s Homo Ludens, he attempts to describe play as an element that is both serious and not serious simultaneously.

At one end, the fact that play holds no inherent risk or chance for profit.  On the other, play naturally invokes a sense of intensity and tension that forces the player into a more serious state.  I feel, however, that in Huizinga’s idea of play being a serious matter, he fails to consider the possibility that a player can play a game simply for the enjoyment of the game.  As previously mentioned, play is an essential part of a game, but you don’t need a game to engage in play.  However, I’m inclined to believe that the player whose ultimate goal is not winning, but rather to attain the maximum enjoyment possible from the game, plays in an almost tension-free state, as that tension would detract from the ability for the player to have fun.  Does a gamer like that fit into Huizinga’s model of gaming and play?  I’m inclined to believe that no, they don’t.