week 10

Article:  www.vextroforever.wordpress.com/216/08/07/debris

I found this article very dark and difficult.  From my perception, this is an article based on an artist’s choice of using a certain type of music or noise to bring across a feeling or a mood in the game.

The game that is described in the article, Debris uses the type of music called drone music.  Some would call it a minimalistic tone that could be perceived as hypnotic so that the gamer becomes engrossed in the content of the game rather than the music.  Because the game is minimalistic in the fact that it is white pixels on a black background, the drone music lulls you into the sensation of space in conjunction with the content.  It is a morbid type of sound, a sound that promotes a sense of hopelessness, like being lost in space.

In the game when Sayuz11 crew are presented, the music is continuous and could possibly create a sense of hopelessness followed by fear of death meaning human life means nothing.  The game gives a feeling of insignificance on a cosmic scale. 

The writers final sentence identifies to me that the writer has accepted his insignificance and a numbness to the world around him.

This games gives a feeling of emptiness and a fear and acceptance of death. Games I find similar to this would be the fallout series “Despite all this however there is one game that thrives off of providing the player with a feeling of complete isolation in a baron, unforgiving world, Fallout 3.” (zel, 2015). This game displays the loneliness of a near dead world.

Other games display the message of galactic insignificance like the game No man sky, a game that has an infinite possibilities of planets and you are one person within a space ship.” Explore a virtually infinite, seamless universe, discover and name planets and species that no player has ever seen before and share your findings on a galactic map.” (No man’s sky, 2016)

This game has issues that are included in a lot of works involving space travel. In the future I hope to play this game myself

lewin, leeroy (2016) Debris. Available at: http://www.vextroforever.wordpress.com/216/08/07/debris (Accessed: 21 August 2016).

No man’s sky (2016) Available at: https://www.playstation.com/en-au/games/no-mans-sky-ps4/ (Accessed: 21 August 2016).

zel, H. 4 (2015) Loneliness in fallout. Available at: http://the-artifice.com/fallout-loneliness/ (Accessed: 21 August 2016).

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week 11

 

Article:  www.zam.com.article/907/what-no-mans-sky-means-for-the-future-of-open-world-games

 

No Man Sky, the procedural world generator space exploration game. This article above asks that the method of randomisation from this game can translate into other games but with their own spin on the method and subject, this though is not new randomising situations within the game as well as still have a cohesive story have happened a lot over the last decade. What made No Man Sky’s procedural randomisation so special is the scale of the game(with18,446,744,073,709,551,616 possible planets” (Murray and replies, 2014) . In this article I will show that randomisation and story in games can work together.

In the game The Binding of Isaac and others like it are randomised dungeon levels as well as weapons and enemies randomised for each play through of this game, “you never play the same game twice.” (Isaac, 2011). This game uses randomisation to its advantage and still has a  narrative connected to it and was made before No Man Sky.

The same can be said about Middle Earth Shadow of Mordor, an open world game like No Man Sky. the games nemesis system, this system randomises an entire enemy roster of high ranking orcs including different names, how they looked and how they fought.  “Each nemesis has their own personality and will rise or fall within their social structure as the game progresses” (The nemesis system – middle-earth: Shadow of Mordor Wiki guide, 2014). Much like the binding of Isaac this game uses randomisation just not on the scale of No Man Sky.

 I understand that No man sky is possibly the future for open world games but random procedure is not new to the gaming world. Though like I have said at the beginning is that it has not been done to this scale and I commend the game for this but it’s not a new idea  

 

     Isaac, T.B. of (2011) The binding of Isaac on steam. Available at: http://store.steampowered.com/app/113200/ (Accessed: 21 August 2016).

Murray, S. and replies (2014) Exploring the 18, 446, 744, 073, 709, 551, 616 planets of no man’s sky. Available at: https://blog.eu.playstation.com/2014/08/26/exploring-18446744073709551616-planets-mans-sky/ (Accessed: 21 August 2016).

The nemesis system – middle-earth: Shadow of Mordor Wiki guide (2014) Available at: http://au.ign.com/wikis/middle-earth-shadow-of-mordor/The_Nemesis_System (Accessed: 21 August 2016).

 

week 9

 

Article:  www.zam.com./article/865/walking-simulators-are-growing-up-and-stepping-out

The walking simulator. This term is used for games where the main mechanic is walking as the playable character around the environment and interacting with it (CleverUsername, 1999). These types of simulators are used in many games such as Octodad to Day Z. These games couldn’t be any different due to the fact that one is based in a zombie world and the other based on a comical octopus trying to act human.   According to Steam the online gaming platform, they fit into the same genre. In this response I hope to look into type of gaming and help better understand its definition from the source material as well as other information.

A lot of the different definitions of walking simulators are based on how much interaction the player characters has with the world and how much they are a part of the world. The Jimquisition channel on YouTube talks about this genre with being a character with only slight interaction with the environment itself (Jim Sterling ,2015). The same can be said for the article which says that walking simulators are ‘maturing’ with additions such as survival mechanics implemented in the game that the article is reviewing. Isn’t the idea of walking simulators minimalism though?    

From analysing this article, it appears that the walking simulators are not maturing, it is stretching into other genres that all gaming recognises familiarity.  The game within the article is an adventure/survival game.  Much like Octodad, it is considered a walking simulator.  People question the fact of whether these are real games due to their simplicity.  I believe that these games are at times the most basic of games to a player, however the developer needs to understand that the game has to be designed in a simple way for the player to play the game.

        

CleverUsername, 2 (1999) ‘Walking simulator’, in Available at: http://www.urbandictionary.com/define.php?term=walking%20simulator (Accessed: 21 August 2016).

Corporation, V. (no date) Walking simulator games on steam. Available at: http://store.steampowered.com/tag/en/Walking%20Simulator/#p=0&tab=NewReleases (Accessed: 21 August 2016).

Jim Sterling (2015) Walking simulators (the Jimquisition). Available at: https://www.youtube.com/watch?v=VdHWGMkMorg (Accessed: 21 August 2016).

 

week 8

Article https://killscreen.com/articles/trump-presidency-mean-esports

So Trump hates video games! His reasons for this is that he believes that these games ‘create monsters’.  What he fails to realise is that the games and this industry create wealth for the United States. “ The esports market, already worth $194 million per year, is set to more than double in size by 2017 “(Pearson, 2015)

Trump believes he should keep people out of America.  He is brainwashing his believers that it is ok to fear or hate foreigners. If he was to be elected, his belief is that he would not let people in that come from countries where terror is in effect.  His negligence is clear.  Because a person comes from a country where terror exists, does not render them as a terrorist.  These people are trying to escape terror in the quest for peace and to live in a free world. 

This article states that children of immigrants fill the ranks of America’s esports teams.  Currently the process of getting an athletic visa is arduous. According to Paul Tassi’s article from 2013, he states that the United States does recognise esports as a legitimate way to get a sports visa (Tassi, 2013).  This article states that gamers are questioned as part of visa conditions whether they make a living from video games and does this register them as an athlete?  If Trump was to be elected, he intends to make entry into the United State even harder.

Trumps policy with immigration is interesting due his hypocritical stance on the issue.  “I want talented people to come into this country — to work hard and become citizens”. (Diamond, 2015) Recently whilst at his rallies, he preaches about building walls to keep anybody but Americans within the country, does this not count for Sumail Hassan (net worth $2,287,216.56 (Earnings, 2012)) the esports athlete? Does this make Hassan not a professional? Does this say that Trump considers his career to be illegitimate?  Hassan is obviously a very talented person who is committed to a career which Trump considers unprofessional?

In summing up, one can only hope that Trump is not elected for the sake of egamers in the future and for people who are trying to escape terrorism and to live in ‘the land of the free and home of the brave’.

 

Diamond, J. (2015) Donald Trump undermines his own immigration policy. Available at: http://edition.cnn.com/2015/08/18/politics/donald-trump-immigration-policy-tweets/index.html (Accessed: 21 August 2016).

Earnings, e.-S. (2012) Sumail ‘SumaiL’ Syed Hassan – Dota 2 player profile: E-sports earnings. Available at: http://www.esportsearnings.com/players/14196-sumail-sumail-hassan (Accessed: 21 August 2016).

Pearson, D. (2015) Report: ESports revenues to hit $465m in 2017. Available at: http://www.gamesindustry.biz/articles/2015-02-17-report-esports-revenues-to-hit-usd465m-in-2017 (Accessed: 21 August 2016).

Tassi, P. (2013) The U.S. Now recognizes eSports players as professional athletes. Available at: http://www.forbes.com/sites/insertcoin/2013/07/14/the-u-s-now-recognizes-esports-players-as-professional-athletes/#10e7d488691d (Accessed: 21 August 2016).

week 7

Response to https://www.jacobinmag.com/2016/07/pokemon-gopokestops-game-situationist-play-children/

Pokémon Go a game based on the Nintendo video game franchise as well as anime series. This game according to the article above is a cultural nightmare that is helping with turning adults into children. For children itself this game is terrible for creativity due to the mechanics.  Over the few months this game has been available, it has changed the genre from being a game aimed at children and now is capturing the minds of millennials.  The thrill of nostalgia is evident and here is the reason why in my view.

When looking at the statistics of Pokémon Go and who it truly caters for, I would think that it is aimed at male/female millennials. Statistically, Pokémon Go’s main demographic is males ranging from 21 to 27 years old, in the same website it showed that 44 percent are millennials (Smith, 2016) people that have already grown up with this fictional world and are using the game as a form of nostalgia with the original games and anime coming out around the time of the late 90’s. This is the being also proven by the statistic that 85 percent of millennials in the United States alone own a smartphone (Egan, 2015).

It is evident, that even though the game has its problems, it has been proven that there are positive outcomes including exercise and socialising.  Statistics show that people of this generation group are exhibiting a decline in overall health.  “Eighteen percent of young women and 12% of young men reported at least one of six selected serious health conditions in 2004–2006” (Marketing, 2016).

In summing up, this game was never originally for just children.  It was evolved for a generation that has grown up with this franchise and continues to grow with, due to the fact that many have memories of this game whilst growing up.

 

Egan, J. (2015) 18 statistics that marketers need to know about millennials. Available at: http://www.leadscon.com/18-statistics-that-marketers-need-to-know-about-millennials/ (Accessed: 21 August 2016).

Marketing, M. (2016) ‘Millennials: Are they healthier than earlier generations?’, Available at: http://www.millennialmarketing.com/2009/12/millennials-are-they-healthier-than-earlier-generations/ (Accessed: 21 August 2016).

ProCon (2016) Pokémon go: Top 3 pros and cons. Available at: http://www.procon.org/headline.php?headlineID=005316 (Accessed: 21 August 2016).

Smith, C. (2016) 53 amazing Pokemon go statistics. Available at: http://expandedramblings.com/index.php/pokemon-go-statistics/5/ (Accessed: 21 August 2016).

The horrors of the holocaust response

This article looked at getting the perspective and response to the holocaust with the comparison between Schindler s list and the game Inside. The article looks into the reason why the game gets an experience of a child in the holocaust without openly saying that is what it is. the aspects I want to go into is a games that lets you have an experience with a part of history near accuracy.

Games like metal gear solid, a game series that have at times nonsensical stories but has the controversial aspects mingled within that story, child soldiers, cold war international relationships and cruel unusual punishment of prisoners. Games that use historical setting need to understand the problems of the time and showing these problems to the player and give the perspective. As a personal experience with the metal gear series I did not know about the cold war until metal gear solid 3 and it gave me the perspective of a soldiers of the time the government of the time and if I had played inside I would get a perspective of a person trying to survive the one of the most harrowing moments in the 20th series the holocaust.

I hope that when I play this game I do feel the perspective of a boy trying to survive the Holocaust just like I have in many other games like this one.

 

 Child soldier (2013) Available at: http://metalgear.wikia.com/wiki/Child_Soldier (Accessed: 5 August 2016).

Hamilton, K. (2016) INSIDE: The Kotaku review. Available at: http://kotaku.com/inside-the-limbo-crews-new-game-is-utterly-fantastic-1781818278 (Accessed: 20 July 2016).

List of controversial video games (2016) in Wikipedia. Available at: https://en.wikipedia.org/wiki/List_of_controversial_video_games (Accessed: 5 August 2016).

Combat is character development response

Combat is character development response

 

 

When reading this article, it gave a good perspective on the time and money that is put in the combat of a game and when using that it needs a porous and this reason that this article goes into is character development.  Looking into pure fighting games like street fighter and a specific character Akuma the main antagonist. “Akuma is a cold and extremely powerful warrior whose sole reason for being is to hone his fighting skills by battling and destroying strong foes.” (Akuma, not date) this is well explained in his combat style that “Akuma’s overall style focuses on completely dominating the opponent and preventing counterattacks.” (Akuma, no date) this character just wants just to be the most powerful being in the street fighter universe and his needs to destroy his opponents and by dominating them in the fight. This shows that even a series like street fighter understands the need to match the personality of their character to the way they fight.

Like the article looking into the uncharted series as a whole to look at the combat I wish to look into the I wanted to look into the Jak and Daxter series another naughty dog series. In the story of jack and Daxter one a lot of the combat is based on the hand to hand combat while in Jak and Daxter 2 Jak has matured with the passage of time within the story but with the use of lightly cartoonish weapons. These changes are made by the story and the development of Jak. In this story Jak is angry and has a need to get back at a government that tortured him within this story and has been lead to pick up weapons. Jak as a character has developed and so does the combat of the game.

The needs of the story and character development are important and the combat as well as the game needs to evolve around that. I hope that I have made a good response to the article

 

 

 

 

 

Akuma (no date) Available at: http://streetfighter.wikia.com/wiki/Akuma (Accessed: 28 June 2016).

DeVries, J. (2012) Jak and Daxter collection review. Available at: http://au.ign.com/articles/2012/02/07/jak-and-daxter-collection-review (Accessed: 28 June 2016).

Jak II (2015) Available at: http://jakanddaxter.wikia.com/wiki/Jak_II (Accessed: 28 June 2016).

week 4 blog

reading both of this article and the response made by nick made scene in a lot of ways.the method of punishment made by this games studio is ludicrous, as well as the connection between a persons social and work life can be very divided.This company’s  logic is been fully thought through when hiring but many companies use methods like this in when hing or the termination of an individual.

. looking through someones social media or in this case game chat. looking at “your Facebook postings might win over your friends_but they could also cost you a job”(Davidson,2014). With the use of the internet companies gain knowledge on who works for them and will possibly fire people that might their image and in some ways their right to fire these people but by using this unlawful method Riot games have done this in the worst possible way.”if you ask your employee for information, you must maintain confidentiality and protect his or her privacy”(employer rights and responsibility,N.A).this misuse of information goes against the

 

Narratives within video games.

Tragedy and E3: it’s not just the guns, it’s the stories that we tell.  Reading this article on the gaming industry trying to promote their future projects while the tragedy of the LGBT nightclub shooting, this article also goes into the some of the storytelling elements that are commonly used within a lot of the industry’s recent made games and the gap on fiction and reality.

a lot of this article talks about the use of violence to solve a conflict within some video games and that we really don’t care about the weapons used in the game but use “the stories we choose to tell about them.” (Rath, 2016), and the context of the use of violence in narratives.  I do agree in some aspects a lot of games do use violence as a simple way to stop a conflict, though this is not entirely the flat of video games.” Violence is a conflict and stories need a conflict. Now some might argue that it is someway lazy to relay on violence as a conflict but the fact is violence is a very human thing “(Gameranx, 2016) in books, movies and even plays violence is a method of conflict or solving the conflict. A lot of narratives throughout history follow the same structure “The format of storytelling is fixed – the protagonist, the quest, the trials, and the resolution” (Nolan, 2010), this structure is what has entertained people for a long time due to how human nature works, we are entertained by some overcoming or failing trials due to this being an occurrence within human life. Am I saying this goes through all gaming and media no, but saying that the use of violence is a simple native is far from the truth.

Though the use of violence within video games and the reality is different. The discussion happens with any art form, though without discussion art cannot change and evolve into something better in the future.

gameranx. (2016). why is war & violence a major part of video games?. [Online Video]. 14 February 2016. Available from: https://www.youtube.com/watch?v=jt9Wn0YSiag. [Accessed: 21 June 2016].

Josh Finderup. 2013. Why violence is good for games — and storytelling. [ONLINE] Available at:http://venturebeat.com/community/2013/06/29/why-gaming-needs-violence/. [Accessed 21 June 2016].

ROXANNE KRYSTALLI. 2014. Dilemmas of Storytelling: Violence and the Narrative Responsibilities it Creates. [ONLINE] Available at: http://www.fletcherforum.org/2014/03/10/krystalli/. [Accessed 21 June 2016].
SAGE Publications. 2015. Why do people play violent video games? Storytelling and meaningful choices may play a part. [ONLINE] Available at:https://www.sciencedaily.com/releases/2015/04/150409120443.htm. [Accessed 21 June 2016].
William F. Nolan. 2010. “The Basics of Storytelling”. [ONLINE] Available at:http://www.betterstorytelling.net/thebasics/thebasicsofstorytelling.html. [Accessed 21 June 2016].

Overwatch, Gamer/developer relationship

What is the relationship between gamers and the developers who make games? While looking through articles related to the recently released game Overwatch, I noticed their understanding of the audience and the responses the developers (Blizzard Entertainment) gave to fans on their comments and criticisms about the game. In this article I hope to show this relationship between the developers and gamers.

When making games it is important to understand who your audience is and how to appeal to them. Blizzard has had no problem doing this “Blizzard specialises in making incredibly polished, welcoming games that people love, and now it’s turning its attention to first-person shooters with overwatch” (Tucker,2016). Overwatch shows its ability to cater to a large variety of players with a large roster of different playable characters with different playstyles, point systems and rewarding characters differently. This sometimes is not beneficial to the game due to some fans not liking some aspects of specific characters within game and in the fandom itself (Todd, 2016).  I found that some aspects of the characters have to be separated to how is the character is played. According to some average player’s opinions most if not all characters have a fun, unique playstyle to each character and with the difference in play, promotes more time played with different characters (Tassi, 2015). This shows Blizzards ability to produce hours and hours of content of fun with a lot of variety to give players.    

Other aspects of the gamer/developer relationship are the responses to criticism or complaint by the fans about certain elements of the game; “in spite of Blizzards statement, which made it clear that the developer agreed with the comments that had been made and were not” entirely happy with the original pose” in the first place, the cry of censorship rang out across the web” (Gordon, 2016), this quote was from an article about the developers answering the comments about an in-game character pose that certain fans disliked and a compromise was made to change this pose slightly to appease the fans that made the criticism. This shows that the developer is listening to the public and show that they care what their fans think of the game.

Looking at Blizzards new individual property moving forward, it appears to me that they are interested in fan response and feedback.  This allows them to produce games that meet the ideals of their customers.  With gamers giving their input, developers can produce content that meets the standards of their audience.

References

Derrik J. Lang. 2016. ‘Overwatch’ game developers find creativity in diversity  . [ONLINE] Available at: http://phys.org/news/2016-05-overwatch-game-creativity-diversity.html. [Accessed 13 June 2016].

Jake tucker. 2016. Overwatch wants you to love it, and it’s hard not to . [ONLINE] Available at: http://www.alphr.com/games/1003622/overwatch-wants-you-to-love-it-and-it-s-hard-not-to. [Accessed 13 June 2016].

 Matt Gerardi. 2016. Overwatch embraces the pow positivity. [ONLINE] Available at: http://www.avclub.com/review/overwatch-embraces-power-positivity-237915?utm_medium=RSS&utm_campaign=feed. [Accessed 13 June 2016].

Nathan Grayson. 2016. Overwatch’s New Progression System Is A Big Step In The Right Direction. [ONLINE] Available at: http://kotaku.com/overwatchs-new-progression-system-is-a-big-step-in-the-1758582886. [Accessed 13 June 2016].

N/a. 2016. JEFF KAPLAN REVEALS PLANS FOR OVERWATCH. [ONLINE] Available at: http://www.drakemoon.com/overwatch/jeff-kaplan-reveals-plans-for-overwatch. [Accessed 13 June 2016].

Paul Tassi, 2015. Analyzing All 18 Of Overwatch’s Playable Beta Characters. [ONLINE] Available at: http://www.forbes.com/sites/insertcoin/2015/11/02/analyzing-all-18-of-overwatchs-playable-beta-characters/#6432ad0d75fc. [Accessed 13 June 2016].

Gordon . 2016. Opinion: Why Blizzard’s Overwatch Decision is Not Censorship. [ONLINE] Available at: http://gamerant.com/blizzard-overwatch-tracker-censorship-opinion-104/. [Accessed 13 June 2016].

Todd. 2016. trapped. [ONLINE] Available at: http://www.chaoticblue.com/blog/2016/06/trapped/. [Accessed 13 June2016]