Weekly Writing for Rhetoric of Gaming F2017

In The Oregon Trail, players must make decisions in order to keep characters alive until the wagon train makes it all the way to Oregon. The game, however argues that lives are of no value in lieu of attaining an ultimate goal. While some may argue that the game takes a rather blasé stance on death and disease given the time period it is meant to emulate, it is evident that the stance of the game toward death is that it is of no greater purpose, and there need not be any reason for it other than the direct cause. This is seen in the way the game words the causes of death, ie “You have dysentery.”

The game does not give any form of sympathy or explanation for the acquisition of the illness. This happens throughout the entirety of the game whenever there are any negative consequences for decisions or during negative events. The game, through this, seems to say that one should not question the negative things that occur in life, but rather just recognize them and not fight.

Insert analysis here

Super Columbine Massacre RPG! is a role-playing game in which the user assumes the roles of Eric Harris and Dylan Klebold, the perpetrators of the 1999 Columbine school-shooting. The game understandably attracted significant controversy, but also opened dialogue regarding video games’ role as an artistic medium. The game not only mimics events of the massacre, but also formative moments in the lives of the perpetrators and the media’s perception of Dylan and Eric. The author aims to approach the subject with some serious sensibilities, but only through outrageous satire. The game ends with a press conference mimicking the media reaction to the massacre, depicting a society quick to find a scapegoat — Marilyn Manson, a lack of gun control, and of course, video games. The game itself is made for a both tech savvy and socially conscious audience — the creator seems to know what he’s doing by having Eric and Dylan fight characters from DOOM, which was another cause for the massacre in the eyes of some. The game was made using RPG Maker, a program that attempts to open the art of video game creation to a wider audience by allowing one to make a game with no programming skills.

https://en.wikipedia.org/wiki/Super_Columbine_Massacre_RPG!

 

Evan Cowgill

ENG 400

Dr. Cream

14 September 2017

Rhetorical Analysis 3: Voice and Expertise in YouTube Game Guides

 

Link for Reference: https://youtu.be/r5lbQvOXN9U

Joseph’s Place is a YouTube channel that exclusively makes videos for Runescape 2, namely guides and analysis-videos.  In this particular video, he (Joseph) provides an in-depth explanation of the Magic skill in Runescape and how it can be best trained.  But with so many other methods and opinions held within the community of Runescape’s players, Joseph chooses to increase his credibility by presenting his information in a way that convinces the audience that he’s an expert at the game, so they should accept his assertions as fact.

He uses many means to establish this throughout the video.  Joseph clearly displays all of his math and offers backing sources in the video’s description, attempting to prove to the viewer that everything he claims is logically sound and mutually agreed upon.  Joseph also speaks with an almost super-standard English that mimics that of a lawyer’s argument, a public speaking speech, or an NPR podcast.  The features of this style of speech include deliberate enunciation, almost no contractions, de facto tone of voice, and much more.  What’s especially interesting is that this same style of speech can be found in many other YouTubers who also want to exhibit an air of expertise in their respective game.

All About Eve is a 1950 film that argues that women are unable to create lives for themselves outside of their connections with men. The film does this through its focus on Eve and Margot. Eve and Margot are both rarely seen without either their faces or figures being exploited for the purpose of their beauty. While both of them are in different stages of life–Margot being exploited in that her beauty is fading and what a shame it is to her, and Eve being exploited for her beauty in being young. While the film never outright mentions their beauty in regards to their success, it is overtly suggested by not only the male gaze from a cinematographic point of view, but through the gaze of the male characters in the film, as well. Characters like Addison and Lloyd when being spoken to by Eve and Margot will rarely focus on the eyes of the person that they’re talking to, but rather scan the face of the woman or take multiple quick glances at their body. Once the men have decided that the women are up to their standard of beauty, then they use their power to directly affect the women of interest to them.

In the second half of the first chapter of Homo Ludens, Huzinga spends a lot of time comparing the act of play with that of a sacred rite or ritual. The reason for this is to point out that both have specific, predefined sets of rules and practices that take place inside of a designated world space (church, playing field, etc.). He also makes the point that those who violate this world-space (for example, by breaking the rules) are often shunned or looked down upon.

From a rhetorical standpoint, this comparison lends some credibility to the idea that play is something that should be taken and studied seriously. By comparing it to something that is already taken in such a manner, the kind of association gained from such reasoning creates the idea that the act of play is a deeper and integral part of human culture, one that fundamentally cannot be divorced from human existence.

Huizinga uses historical examples to date/link play and culture, and also to justify his definition of play as a “representation of something”. One example he uses is when ancient civilizations initiate boys of their society into the male community when they come of age (12). This example allows us to think of play in a whole different light, and allows us to make the connection between the history of play and culture. This example emphasizes how old the act of play is and how it has been a part of everyone’s life and culture.

Tradition is another term Huizinga uses to date play and it’s cultural significance (10). In today’s society these examples can be compared to and initiation into a group such as a sports team, or Greek organization on a college campus. It is “tradition” to initiate new members of these groups and organizations so they can have the same experiences present members have, thus allowing them to gain an understanding of the group of people, the organization and it’s beliefs.

In the article “The Rhetoric of Video Games” by Ian Bogost they start by talking about the game Animal Crossing. It seems that the audience for this game is younger kids. They kids seem to be learning basic life lessons and skills by playing this game. For example, Bogost talked about how his five year old son learned how to save up money to pay of a mortgage by playing the game. I’ve never played Animal Crossing, but I have played the Sims computer games and I feel like similar lessons could be learned from it. For example, in the Sims, unless you use cheat codes, you have to earn enough money by working to pay for a house and food and other items you want to buy. You even have taxes that you have to pay every week in the game. Games like these seemingly introduce children to the idea of savings and much more.

One of the most popular contemporary discourses is that of movies and TV shows. A media consumed daily, these visual outlets especially allow for mercurial rhetorics, something particularly seen within the adult cartoon Rick and Morty. Based around a fusion of Back to the Future, Doctor Who, and Futurama, with copious amounts of violence and absurdity added, this young institution has gripped the masses rapidly with its ridiculousness. I propose that the entire show itself is a game, wherein the acceptable parameters of society are tested.

The comedic aspect inherent to adult cartoons is obviously a staple of Rick and Morty, however, it breaks the tropes often assumed within this denomination, thereby creating a whole new trope onto itself. When one exerts agency by deciding to watch this show, it is with a certain understanding (for those who are familiar with it), that the end goal of said watching is to observe pure childishness ground into adult humor; its simply the way that goal is reached that play comes into question. Each episode is a maturely ad-libbed adventure only a child could conceive, often creating more questions than any other twenty minute show ever could. The actual act of viewing this series parallels the game played when one enters a maze, as aforementioned ridiculous juxtapositions create a myriad of rhetorical labyrinths. Therefore the overall game is trying to find ones way to the end of this rhetorical maze, sifting through the self created tropes and expectations, to arrive at an end goal of excited confusion and dazed acceptance.

Bully

Rockstar Games’ infamous private school simulator Bully was very controversial upon its unveiling and well past it’s release in 2006. Part of the confusion was from early developmental content that seemed to involve the player controlling a student who bullies fellow students, however this is not the plot of the finished product. Instead, the game involves a new student, Jimmy Hopkins, who aims to rise the ranks socially as well as unite the student population, who are terrorized by certain problem students.

The rhetoric of the early promotional material paired with the title is what gave rise to such controversy. However, the finished product also stirred emotions. The game explores violence amongst youth through a lens of humor and satire typical of a Rockstar game. The game also boldly gives the player the option of either kissing girls, boys, or both. The rhetoric of infamous activist/disbarred attorney Jack Thompson did not help either (Thompson referred to the game as a “Columbine simulator.”) Thus, the game was banned in places such as Brazil, despite its fairly mild content, especially compared to other, legal games. The game is an interesting case of how rhetoric can inaccurately warp public perception.

https://en.wikipedia.org/wiki/Bully_(video_game)

The preview for Xbox’s Battlefield 1 game, is clearly created to look like a movie trailer, with the exception that we are also invited to interact with the action. The trailer persuades us to partake in the actions of the game through a few different strategies. The first being a perspective strategy. Since the commercial is seen through a first-person perspective, it feels like we are already a vital part of the game, thus making us feel important and needed within the game. The next approach appeals to our emotions through the portrayal of action and crises, set to a remixed version of The White Stripes “Seven Nation Army.” This song acts as a battle call, and, mixed with the chaos, is intended to amp up our adrenaline. The realistic graphics also make the game feel as real as possible. Because it simulates actual historical events as well, perhaps there is the appeal of time-travel in that we as players could potentially recreate historic battles. All of these approaches succeed in bringing us as close as we can into the story, before we even pick up our controllers to play.

Polybius as a Cultural Artifact

The Boogeymen of urban legends exist only in the minds of those that understand and contribute to them. As a result, they reflect the fears, doubts, and morbid curiosity of those communities that create them. Polybius may not exist, but its story gives an interesting insight video game culture and the suspicions of those outside of it.

Polybius is not a creature or demon out to terrorize unsuspecting victims. It is an arcade game that draws children in willingly, making it all the more insidious. Further, it’s known for its addictive qualities, sending players into a fervor as crowds awaited for their turn to play.

This part of the Polybius myth echos parental fears during the arcade boom of the 80s. Video games were demonized, with arcades frequently compared to casinos or bars. Skeptics feared that children’s enthusiasm for gaming was the result of harmful addiction.

Evan Cowgill

ENG 400

Dr. Cream

7 September 2017

Rhetorical Analysis 2: Your Mom Hates This

 

Link for Reference: https://youtu.be/nKkPFDEiC6Q

In their commercial, “Your Mom Hates Dead Space 2”, Visceral Games (the main developer) and EA Games (the publisher and most likely culprit for this advertisement) try to assert that Dead Space 2 is a game so violent and horrific that every player’s mother is going to hate it.  The commercial is broadcast with the intention of convincing young games that their mom’s disapproval is the reason why they should buy Dead Space 2 – or any game for that matter.

It starts with several video clips of moms reacting to footage of gameplay, immediately setting the stage in this way before the game has even been shown.  No room is allowed for other interpretation of the gameplay, because it is entirely framed by the disgust present on the participating mom’s faces.  Following this introduction, a deep-voiced narrator speaks over a frenzied series of clips from Dead Space 2 with a potent slogan: “It’s revolting; it’s violent; it’s everything you love in a game, and your mom’s gonna hate it.”  I can’t help but think of Heather Chaplin’s warning against games that rely solely on violence for incentive to buy and play, as they increase the danger of inorganic imbalance in the game industry.

Evan Cowgill

ENG 400

Dr. Cream

4 September 2017

Rhetorical Analysis: Nature Valley Commercial

Link for Reference: https://youtu.be/1XDVDyDJ3s0

      This commercial for Nature Valley’s snack bars, aptly entitled “Would your kids respond in the same way as these kids? Raises an interesting” by the YouTube user who posted it, argues that humanity is losing touch with nature (The Great Outdoors) as each generation of kids chooses their leisure-time activities.  Nature Valley claims that modern technology is to blame for this phenomenon.

      Delicately dramatic music breathes emotion into the audio’s background as Nature Valley showcases a series of elderly people answering the question of what they did for fun during their childhood.  Their answers are stories full of wonder and excitement, fishing and fending off bears.  Then, abruptly (even menacingly), the music stops as a sample of today’s children respond to the question with non-anecdotal answers like video games, texting, and somehow e-mail.  The elderly and oh-so-wise stars of the commercial shoot knowing glances at the camera as the children’s parents cry and express their fear for the future.  Then, the music returns — this time, more hopeful — as Nature Valley connects their brand of snack bar to one simple solution: Rediscover the Joy of Nature.  Be sure to try their newest flavor, Appeal to Tradition.

Isabela Granic excels in her article “The Benefits of Playing Video Games” by defending common arguments against video games with research, statistics and facts. Certain platitudes such as “Video games promote laziness in children” are proven wrong by citing controlled research surrounding video games. This challenges the so-called common knowledge about video games with actual and proven facts. A factor that makes the article seem more modern and reliable is that the research that’s sited utilizes games such as Halo and Call of Duty. Both franchises have had installments in the last two years keeping the collected data fresh and up to date. As if more direct evidence was needed for the benefits of video games, Granic cites certain video games that have the primary purpose of teaching in a more entertaining manner; this concept is called “gamification”. A game called Re-Mission is a game utilized to teach child cancer patients about their illness. By citing impactful, intriguing, and emotional citations throughout the article, Granic teaches the reader in a simply understandable manner about the benefits of video games.

Granic, Isabela, et al. “The Benefits of Playing Video Games.” American Psychologist, vol. 69, no. 1, Jan. 2014, pp. 66-78. EBSCOhost. http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=2&sid=2353a274-0752-41cd-84ad-72068349ea16%40sessionmgr4006

In Tania Smith’s article title, “What is Rhetoric”, helps define the word ‘rhetoric’ in the simplest terms. As the article continues on from her initial base work of defining rhetoric, she explores the facets and ways in which everybody directly and or indirectly uses. Smith notes that rhetoric must be defined by its “function, not by a communication medium, topic, or social location.” Smith does a proficient job at properally explaining the basis to that of rhetorical communication whether that be writing, proclaiming a speech, seeing a poster, or even sending out a tweet to your 500 followers. Although Smith does not delve to deep into the details of rhetoric’s history and the ins and outs of the different discourses and aspects of rhetoric, she is able to very effectively lay-out the framework of rhetoric in layman’s terms.

When asked to rhetorically analyze an underlining function of Smith’s article, I believe she’s essentially laying a base for the reader to go on and further explore the function of rhetoric in everyday life situations. She even ends the article with a Wiki link to rhetoric and will continuously revisit the article to answer questions down in the comment section.

Maxwell Randolph

Smith uses words and phrases such as, “most people, everyday, every topic” to emphasize how much we use rhetoric without even realizing it. This causes the reader to recall times and instances they used their communication skills to convey information or persuade in their own way. She also uses everyday functions of today’s society such as social media, music and more to emphasize the everyday use and importance of rhetoric. She uses these many examples to say that rhetoric is broad in it’s definition, but unique in that it is meticulous on what it’s function is in a certain setting.

Smith uses her own communication skills to convey what rhetoric is. Therefore, does everyone’s definition of rhetoric differ because of our own way of communicating and explaining things to others? Some may say rhetoric is how people use words to convey and persuade; however, Smith opens up the definition to visuals and how they are also used to convey and persuade.

Simple and to the point, Smith’s definition of rhetoric is one that every reader can understand. However, as her text progresses, its purpose shifts and expands to include a variety of different views on rhetoric. By offering varying opinions on the topic, it seems as though Smith wants to provide us with its many different facets so that we may come to our own conclusions and definitions…but that is not necessarily what she is doing. What Smith communicates is her belief that rhetoric, in its best form, “enhances” “truth” and “beauty.” She throws this in, a little more than halfway down the page, and then sandwiches it under bullet points headed by words like “deny” and “defame.” But this statement is neither denial or defamation of rhetoric, it exemplifies the beauty of it. Therefore, I think that at the heart of her argument, Smith uses our emotions to persuade us into believing, I gather, what she believes is the best form and function of rhetoric: one which “enhances” “truth” and “beauty.” She wants the reader to believe this too, as she strategically places it at the center of her text without explicitly placing it in her defintion.

Hayley Annino