gency is the satisfying power to take meaningful action and see the results of our decisions and choices.
Murray gives this dictionary definition but it seems insufficient to describe the relationship between author and interactor in interactive digital contexts. Consequences or outcomes(results) are given too much weight in this definition. Sometimes meaningful actions are about learning how to interact or simply making a work move forward.
When I speak of poetry, I am not thinking of it as a genre. Poetry is an awareness of the world, a particular way of relating to reality’ – Andrei Tarkovsky
Thought provoking quotation. How does IDN or idocs show an awareness of the world?
Agency is the satisfying power to take meaningful action and see the results of our decisions and choices. W
This statement begins with a kind of dictionary definition of agency but I think it's the least interesting and apt way of thinking about how we participate and engage with digital works or even with digital space. In the interactive digital narratives we have read, "meaningful action" isn't always connected to a result or an outcome, but is instead part of a process of discovering or of uncovering ways of thinking or seeing.
, a story I have come to call the “violence hub.”
This concept of the violence hub (or just a hub) as a story structure seems to me to be a really interesting way to show multiple viewpoints in a story!!
Agency is the satisfying power to take meaningful action and see the results of our decisions and choices.
Murray begins with this proposition about agency as causal----a kind of input/output sequence and then expands on it later in this section by thinking about intentional navigation. I see that idea of thinking of the digital screen as space through which we travel opens up a kind of radical way of thinking about storytelling and giving it some dimensionality
Such repeat engagements enable increasing understanding of the complex phenomenon, by building upon the knowledge gained in earlier traversals. (
I love how Koenitz brings together complexity with replay! Every replay offers another ways of thinking or understanding a situation or a scenario
Instead of making an active effort to understand each factor of the story presented, players instead make a passive effort that doesn't challenge the status quo.
This point is interesting but not necessarily accurate to Ruberg's claim, here. Accuracy is needed --you can extend Ruberg's ideas with your own but who is saying what needs to be clear
is about "queer entanglements,"
This term needs more definition and unpacking. What does it mean and why is it relevant as an alternative to empathy games.
Note how the term is reused in each sentence that follows but never exlpained. As such, it does no work and this passages impact is minimal.
Another example of a primarily "Empathy-Based" game is Unravel, which unlike many of the other examples, is a game that was done correctly.
The reader have no context for this -include more set up.
he player cannot actually relate to the feelings they are "empathizing" with, but they nonetheless are taking these embodied identities as their own
This last paraphrase needs to do justice to the strong claim that ends the Ruberg quotation. I get no sense of "a colonizing of affect: an invasion, occupation, and subjugation of others’ experiences"
embodies
interesting word choice
[MH, GG, KH]
This last sentence needs to be in the positive--too may "nots". What does GH show us about the limits of empathy?
JC, SB, YD, RC
This summary does some good work but I think it elides Ruberg's point about how the rhetoric of empathy "minimizes the lives and identities of those who are seen as 'different' or 'other.'" That active negation or "minimizing" is really key to their claim. It also might be harnessed it terms of thinking about Gone Home
If adventure games gave walking simulators their focus on exploration and immersion, and generated worlds a contrarian design to react against (pushing away from randomness toward curation), slow games created a foundation or context for games to be minimalist and contemplative and connected to a lineage of art that explores these aesthetics.
Reed et al. seem to be arguing that walking sim/ slow games are designed to prevent players from having agency other than the ability to move slowly and to think about the story and its messages.
I'm intrigued by the idea that art and contemplation are linked here and wonder if considering Gone Home an "art" game changes my understanding of it.
The ability to move through virtual landscapes can be pleasurable in itself, independent of the content of the spaces.
Thinking about movement through space as a form of agency (and agency as a kind of pleasure of reading is really interesting. That means agency is in a sense an ability to move ourselves and have some authority or involvement in a literary space.
Ending is already determined so the player is allowed to focus on the rules and procedures needed to get to the ending
Such a thought-provoking comment as rules and procedures apply both to the game play and the crisis process
This note shows how random the family's disappearance was, leading to further confusion from Katie.
some specific work with the image to connect it to the idea summarized above
which was packaged by the idea of empathy was confusion.
I'm not quite clear how confusion relates to the idea above. Are you focusing on the feelings of being outside the home and having to find a hidden key?
These specific emotions should not be overwritten with one single word, instead they should remain separate to retain their complexity.
To some extent you miss Ruberg's critique of empathy games that led her to this conclusion. Can you rework the summary to show how Ruberg is suggesting alternatives?
image Image of one of Sam's journal entries to Katie emphasizing the change that has occurred over the time that Katie has been gone
more detail needed to explain how the example works
(Ruberg 67).
I'm a little confused by this summary. Can you clear up what's going on?
.
awesome point and it works to help clear up the paraphrase--some backwards work witll help.
In this image Katie
how does the example follow from the last claim?
In Gone Home, the player views Sam's narrative through Katie, and does not get the first-hand experience of Sam's situation as she is an outsider to the development of Sam's disappearance.
a stronger connection to the ideas of the summary is needed. One could perhaps note that GH questions ideas of empathy in the spirit of Ruberg
Ruberg is saying that by playing a game about a marginalized group while being privileged yourself is disrespectful when you are doing so to simply empathize with said groups.
not really accurate here-some rephrasing needed
Thus creating a misconception for the player.
strong point --is this kind of blending of experience what you see gone home as doing?
like this, but this experience is a generalized portrayal o
it's a good effort to make a strong connection but I'm not seeing why this image is generalized. Explain further.
it minimizes the lives and identities of those who are seen as “different” or “other.”
I wonder if the summary gets at this important claim or idea in Ruberg's passage?
ng.
some indication of what this distinction matters is needed.
The letter below displays the argumentative n
some connection is needed between this section and the last one.
).
in this summary, I wonder about it's accuracy in conveying Ruberg's claim that the rhetoric of empathy "minimizes the lives and identities of those who are seen as "different or "other'"
To the player, Lonnie is just a stranger, but to Sam, Lonnie is a very important person to her.
in the context of what precedes, I would expect some discussion of the military's exclusion of gay people and the don't ask, don't tell policy. Lonnie is in a difficult position.
the player is in a privileged position since they play as Katie, a
why is Katie in a privileged position? Is it because she's outside the action? How does that relate to "unjust power dynamics? A cleaner connection is needed. Maybe you could consider Katie's privilege as being heteronormative.
ive (61
very nice summary
otophoto
how doe this image demonstrate these complicated relationships and the relevance of this game as exploring those relationships?
a description.
to some extent this concluding statement should accound for the connection you're making.
Furthermore, in Gone Home the main theme of familial connections are lost through the generalization of empathy; by denouncing the use the term "empathy" we bring back the importance of the complex topics mentioned above.
Not clear what this means but I think I see the shift you're making to exploring familial relationships
topics such as compassion, sorrow, and queer entanglement
watch for exact language here--the paraphrase should be in your own words. A more precise summary will help direct the connection more deliberately
y.
what about the family portrait speaks to this strife?
outsider genre have reclaimed the term, as have we in this chapter, for its embrace of qualities that would-be insiders despise. These games deemphasize traditional active game verbs to center more passive ones, especially movement, observation, and reflection. Different verbs can tell different kinds of stories, and these games have often told outsider stories about othered identities.
Interesting to consider insiders and outsiders in gaming and the ways in which games might offer a space for so-called outsiders to express something about their identities. I'm trying to think of other examples in mainstream gaming that are like Gone Home.
Agency, then, goes beyond both participation and activity. As an aesthetic pleasure, as an experience to be savored for its own sake, it is offered to a limited degree in traditional art forms but is more commonly available in the structured activities we call games.
Here's Murray pointing out that the definition of agency that started the chapter isn't enough.
I wonder about her use of the term "aesthetic pleasure" though. It seems to mean a pleasure in experiencing the form of a work.
Agency is the satisfying power to take meaningful action and see the results of our decisions and choices.
Here's the first unsatisfying definition
Distinguished from the commonplace trope of an orphan discovering their destiny, t
you need a citation in this paragraph. It very closely resembles the author's intro
Solnit.
tags go in parenthesis and if the original is paginated, include a page number (Solnit 23).
nvisible illness," a.k.a. depression
is the final diagnosis "depression"? I remember it as being narcolepsy.
n games isn't actually possible,
I think she says that empathy is an over-used adjective in relation to games. Not everyone can feel what it is to be or to feel a particular way
No description available.
title an details should be completed when you upload the image and the made visible in the caption when you import the image into your page.
If you compare the figure below with the picture on page 1 of my book yo
put them both in here
the reader achieves an understanding of the emotional issues that others face.
It's perhaps as if "soft underbelly" is the cat for the reader
an entertaining perspective
?
Development Page 1 Justin
subtitles would be helpful to tell the subtopic and the game. Your name can go in the description or in the text box
aken out of historical, political, social, economic and cultural context to paint Muslims in a certain undesirable light
patchwork plagiarism.
The whole section is a paraphrase of the author's intro. Whatever ideas are not your own need to be cited in-text with lead-ins and tags
mindlesslessly consuming
exact wording from game
(con)TEXT looks at a small piece of text, modelled after a headline, and examines some of the many contexts that it is steeped in.
this is exact language from the game
It describes the representations of the Islam religion that we are exposed to in media is taken out of historical, political, social, economic and cultural context to paint Muslims in a certain undesirable light
This sentence is the same as in the intro
s the issue of decontextualisation, which is something imposed onto Muslims.
summary of about form game
Jussi Parikk
JR Carpenter is the author of this work
To some extent, I would want you to explore this gaming mechanism. Here you mention it but then switch to Rukhl and Salzman without looking back to the image and the work it does.
silly!"
is this image from the game?
Survive the Century" and "My Coastal Futures
you need to include makers names, dates, links etc
agency is
agency and immersion are different terms. I see you get to that difference below. Here following the qtn, you need to work with the language of the quotation
This creates a continuous desire to immerse themselves within the landscapes due to the discomfort that they sense
are you suggesting that Omori really is not therapeutic? or are shifting scenarios part of experiencing depression from a sage distance?
No description available.
need titles and descriptions for all the images!
but in reality Sunny actually commits suicide by jumping off of a hospital balcony.
Why did you choose to focus on this ending? Does it offer any particular insight to the theme you're following?
nicely done!
.
you really need a citation here.
source should go only on the common works cited
though it is examined on the HUD and Overlays page
excellent place to insert a link!
This explanation “degamifies” the HUD, turning it from something that takes one out of the game world, and turns it into something that pulls the player further in.
important but unclear
UI..
write out all acronyms (even within the quote--use [ square brackets] to denote the insertion
No description available
titles and descriptions can be built into scalar and serve as captions/citations
MLA citations for all referenced works
the works cited should be in alphabetical order.
Murray, Janet. "Hamlet on the Holodeck." MIT Press, 1997.
note that the version I copied chapters for class is from 2017
To
add a paragraph about your individual sections and brief summaries of the individual angles each section takes
bring different meanings to the table about why we feel certain ways about discovery games.
I'm not sure what this means. Being specific will help. What kinds of meanings and what ways of feeling.
the games foster empathy and understanding, challenging players to confront their own biases and preconceptions.
this is an example of a dangling modifier which makes for confusing syntax. You need a subject of the main clause that matches the subject of the introductory clause. (...we use games that foster empathy . . .to . . . .
ughts.”
use the 3-step quotation integration template. Follow the quotation with a citation, a paraphrase and an explanation/ exploration of how it adds to your analysis of the image.
Getting Over It, With Bennett Foddy is an interactive platformer game available on mac and windows. The premise of the game is relatively simple: the player uses a hammer as a hook to climb up a mountain of obstacles while the narrator, Bennett Foddy, pokes and prods at the player. While strange and relatively simple compared to other platformers, Getting Over It is infamous for being difficult and frustrating to play, due partially to the intentionally awkward obstacle placement and in small part to Foddy’s half philosophical half mocking comments. It is as much a test of one’s willpower and frustration as it is a test of one’s platforming skill. In this, Getting Over It is a metaphor for the struggle of life in isolation.
this info should go into the introduction. This page should be devoted to image analysis and connection to the quotation.
Give these pages titles that set up the content. You can include your names also if that works for you
Some additional set up for your book is needed in this introduction. What works dis you choose? Why? What aspects of or angles to the theme do they bring?
What is the goal of your book
Mental Health Day. This is a work created on itch and created by a user called myleshouse.
You can put the platform info in parentheses. Also note that itch.io is (I think) just a server not a creation platform (Twine for instance is a creation platform).
Then write a sentence summarizing the plot of Mental Health Day and Mental health.
This work follows our groups theme of wellness because you have to avoid feelings like stress and sadness in order to stay mentally well in this game.
ok.<br /> Follow up on this by suggesting what these games show about the relationship between mental health and gaming. Why are the games relevant and worth studying? Why should the viewer carry on to your pages?
The next
Start a new paragraph here. You space and spacing to organize your argument and claims
mainly on mental health.
be specific here! what aspects of mental health and what do they offer?
"
include page # Otherwise, nice work with this quotation.
st.
you're on a fascinating track but how does the idea of "visiting" fit in?
ge,
from . . . .
I love the connection you're making here!
This
this what?
s. In
a connecting phrase would be right here.
Really nice work with the quotation. In your connection to the image and the game, you need more explanation.
which bears great similarity to a real person.
unclear
In this passage, Murray argues
Good clear rhetoical move
Looking across the open ocean into a distant horizon evokes in the player's mind ideas of possibility and journe
Working with the image in more detail is needed here! Consider how your discussion of the idea in the quotation opens up a way to think about the image from Redshift and Portalmetal and the story itself.
some proofing of the sentences would be effective for clarity!
In order to do so, the player must make more assumptions about the fictional world while also considering the differences between reality and fiction T
good point--Murray's description of immersion puts the reader as oscillating between the real and the imaginary in a kind of orchestrated or willed movement.
The physical equivalent of the theater's fourth wall would be the screen which is the interface which allows interaction between reader and story. Though the importance of what the digital fourth wall is does not lie in its physical equivalent, but rather in its impact on reader interaction.
a little confusing in your language here. However, when you use the claim to analyze the image, your point becomes clearer AND the analysis exposes interesting aspects of "A Lost Scroll"
This image portrays how the internet isolates users with feelings of individualism, while also giving them a sense of publicity with others.
More detail about how what you see in the image relates to the feelings you note would make this connection and analysis more pertinent
a person's imagination
or rather, between an imaginary world ?
format by giving the reader much more agency over the events of the story.
Most of the passage explores this idea of agency--your paraphrase omits much of the richness of Murray's discussion. Consider that working closely with the language is a way to build complexity and depth that you (as writer) can then connect to your own analysis.
moving around a digital environment
as a self check, note how closely this phrasing resembles the original
people enjoy navigating the internet, discovering the different topics they can learn about with just the click of a button and observing the changes they create through affecting and moving around a digital environment
Some of your paraphrase seems to be outside this passage-note the importance of accurately representing the original.
the ideas Pardeck had about th
this pointing to Pardeck is great. Although these 2 sentences could be one
consumers
I'm not sure about this terminology. It's a loaded term. Readers would be better.
Nair
you need to include the other authors! MLA uses et al. for more than 2 authors
digital forms are slowly becoming more popular than traditional books
this idea is key to the passage bu underplayed here--reread the first and last sentences of the original!
the maze orientation where there is a single solution
Very similar/same phrasing. Consider the concept at stake.
Murray suggests that moving forward in adventure games elicits both feelings of success and agency in the reader.
I find this paraphrase a little too brief. It loses some of the richness of ideas of the original! Think complexity rather than utility!
specific choices
what kinds of choices? Here, some specificity about the relation between navigation and choice would help to make this paraphrase more effective.
.
if the work is paginated, your summaries/paraphrases need page # tags.
o.
consider how your connection might specifically deal with "emotions" in Voices
process their emotions
for the most part, this phrasing captures the original; however, you ignore the second part of the passage where the idea of "processing" is further expained
by relating to a fictional character
nearly exact language here. Consider the concept under consideration rather than a word-for word transcription.
powerful tool
exact language
acilitate psychological realizations
this is exact language from the original. As such, it's problematic. Consider the idea that is at stake here and rework the terms
However, bibliotherapy can also be conducted with creative texts, giving readers the chance to analyse and accept their emotions and thoughts with relation to a fictional character. The bibliotherapy process involves readers progressing through stages of recognition, examination and insight into issues and feelings, and acceptance and problem solving (Pardeck, 2014).
Passage 4 for annotating
The content that we encounter online can help facilitate powerful psychological realisations and collective change. Bibliotherapy is a broad umbrella term for any type of directed reading (fiction or nonfiction) to help with psychological issues (Sevinc, 2019). While books can be a powerful therapeutic tool, the number of people who continue to enjoy the traditional print novel is on the decline, especially amongst younger generations (e.g. Clark & Goff, 2020). There are those among us who are still voracious readers but, collectively, more time is spent on newer media forms like film, television, videogames and bite-sized videos and captions in our social media feeds.
passage 1 for summarizing
As I move forward, I feel a sense of powerfulness, of significant action, that is tied to my pleasure in the unfolding story. In an adventure game this pleasure also feels like winning. But in a narrative experience not structured as a win-lose contest the movement forward has the feeling of enacting a meaningful experience both consciously chosen and surprising. However, there is a drawback to the maze orientation: it moves the interactor toward a single solution, toward finding the one way out.
Passage 4 for summarizing
All of them allow us to experience pleasures specific to intentional navigation: orienting ourselves by landmarks, mapping a space mentally to match our experience, and admiring the juxtapositions and changes in perspective that derive from moving through an intricate environment.
PASSAGE 3 for Summarizing
Agency is the satisfying power to take meaningful action and see the results of our decisions and choices.
Great definition of "agency." I think though that it leaves it up to us to determine what meaningful action is and what constitutes satisfying results.
This chapter is partially copied here!
In an adventure game this pleasure also feels like winning. But in a narrative experience not structured as a win-lose contest the movement forward has the feeling of enacting a meaningful experience both consciously chosen and surprising. However, there is a drawback to the maze orientation: it moves the interactor toward a single solution, toward finding the one way out.
Passage 4 for summarizing
All of them allow us to experience pleasures specific to intentional navigation: orienting ourselves by landmarks, mapping a space mentally to match our experience, and admiring the juxtapositions and changes in perspective that derive from moving through an intricate environment.
Passage 3 for summarizing
We sing along with the chorus and remain silent for the verse; we answer the singer’s “call” with the appropriate response. And we do these things in unison as a single voice.
Murray writes about call and response as a a kind of participatory engagement but with limited engagement because it's a form with expected patterns. I think this kind of repetition in traditional forms speaks to a kind of social agency if not to individual agency
Despite the clear potential for the use of literature and creative work to positively influence behaviour and psychological wellbeing, there is little research that examines the use of fictional bibliotherapy. The more frequently utilised and researched genre of ‘self-help’ books have been critiqued as being problematically gendered, focusing on individual flaws women are responsible for fixing in themselves, whilst not addressing the underlying social context which perpetuates insecurity (Riley et al., 2019).
passage 3 for summarizing.
The content that we encounter online can help facilitate powerful psychological realisations and collective change. Bibliotherapy is a broad umbrella term for any type of directed reading (fiction or nonfiction) to help with psychological issues (Sevinc, 2019). While books can be a powerful therapeutic tool, the number of people who continue to enjoy the traditional print novel is on the decline, especially amongst younger generations (e.g. Clark & Goff, 2020). There are those among us who are still voracious readers but, collectively, more time is spent on newer media forms like film, television, videogames and bite-sized videos and captions in our social media feeds.
passage 2 for summarizing
While there is growing evidence that online media is harming us, we need to move the focus toward creating research and creative solutions that reimagine the stories being told online.
Passage 1 for paraphrasing.
Also, based on the origin of the game, Anthropy reveals the hypocrisy in what they did by trying to pander to the LGBT community through spoofing said game.
I'm confused by this sentence.
I'd also appreciate an explanation of why space travel is relevant as a figure or "space" for representing LGBTQ+ stories (I think you're claiming this?).
This screencast displays the animation features i
absolutely haunting!
: episodic and semantic memories.
these terms need to be defined otherwise it's not clear what point you're making.
poetic response to DuPlessis's essay.
what is Du Plessis's essay about? and how does "Dreamlife" respond? More detail needed to set up your reader.
cite!
).
see page note!
This page is a solid block of text. Break it up--use the space of the page and guide your reader through ideas
Really all the different pieces of text and media are all fragments to construct the greater work, all of which provide as the source of violence throughout the story that the reader has to endure.
Very insightful claim!
I see
New paragraph here (for visual cues to move through your ideas).
Nice connection between Short's concepts of game development and this work. -- one could expand even more by linking out to pursue in depth the information about trafficking.
Probably useful to mention that it was submitted to the IF competition
he player is able to understand Theodora's experience and gain a perspective on the struggles caused by autism.
based on the details in the previous pages, I wonder if autism is the cause of Theodora's struggles or if it's rather people who abuse others who they see as weak.
and is typically considered to not be a proper video game.
by whom?
losing grasp
define--expand based on the story itself
erge Bouchardon and Vincent Volckaert's "Loss of Grasp" (2010)
Bouchardon has update this work in 2019. He also made it into a cell phone app
Hazel Smith's "Motions" (2014)
need to include all authors and programmers
The player/reader becomes very accustomed to the format of linked phrases leading to ideas. Thus when they reach the ending and are given a true choice between links, they are surprised by the new organized format of the links and the fact that they are actions, not simply ideas. This changes the player/reader and helps them infer that the final decision is important.
nice reading and adaptation of Meadows idea
as its own shock value, for whatever that’s worth.
Page is pretty brief. Some context needed for the reader who hasn't read the work . Some additional analysis too!
To play this story. Click Bogeyman above.
Link goes to wikipedia
The map is great--did you make that?
The video need some integration--why have you included it--what do you want it to show?
The Escape element of "Paranormal Interactivity" will be recreated within this electronic literature book. So, you will have to pay attention if you wish to escape.
I love this!
society.
this section following the two images seems like it should have it's own page.
When Waddell uses such intense scenes and places them in hidden locations, he plays with the way the reader interoperates and interacts with the game. In a playthrough in which the reader never discovers the backstory, the animals seem to hold the greatest fault for the broken relationship, and the motifs that are written into main scenes providing a hidden bridge to these backstories, are unnoticed. Some scenes in which the darker nature of humans is revealed quite boldly, can even seem to be an exaggerated reaction to a different event based on what the reader has discovered. One example of this being the feeding of a classroom pet.
It's interesting that a different path can lead to a radically different meaning.
this story begins with a human sacrifice—an issue that, as Meadows mentions on page 24 of Pause & Effect, is something universal
This sentence is unclear--human sacrifice isn't universal and I don't remember Meadows discussing human sacrifice.
ne could easily pity Karen's father because of his war-inflicted hearing problems, but doing so would belittle Karen's experience as a person subject to his abuse.
This is a really good point. It's difficult to know where to direct our pity in this story.
The whole experience is less about the story, and more focused and interested in the player’s usage of their freedom to progress the story.
Great point!
As Case concludes, “Our problem today isn't just that people are losing trust, it's that our environment acts against the evolution of trust.”
I'm intrigued by the connection you're making on this page and the claim. The discussion is just too brief and too dependent on knowing something beyond this page.
this concept
which concept?
The addition of being able to converse with the game’s characters in some way makes every playthrough feel different, and overall makes Façade rather unique.
I love this example. I'd really like to see some discussion on the interesting/unique aspect of these facial expressions
.”
what's the game about? You need a summary
-such as JackSepticEye and Brutalmoose-
probably a good place to link out.
You need citations on this page!
One of the floating stanzas scattered throughout the virtual world
the image is so small that the reader can't really see the text.
Think about design choices on this page and ways that the visual can be more visible and also about you could break up this giant chunk of text and make use of white space.
The author’s specific use of such poetry is used to make a claim regarding the antiquity of traditional writing. Th
interesting claim
the concept of loss and this image helps to underline the idea of loss of self. This concept is portrayed simply by the reader’s initial position, they are placed in an unknown environment with no explanation to how they got there and they are surrounded by stanzas that convey little meaning but hold fragments of a story.
does loss = lost?
Good place also for a paragraph break
seen strewn all around the player.
What is the poem/game about? some additional summary is needed.
With each transformation the avatar loses more and more of his physical self.
why does the avatar become more fishlike?
Loss of Individuality PreziYoliztli Lopez
I'd like to see more integration of these images, especially the "Loss, undersea" image--How are you using them and what do they show?
r.
You need a more extended summary of the work--what is the story or the occasion of its poem? How does one navigate the work.
Contrast is the difference between elements, where the combination of those elements makes one element stand out from another.” Th
This idea of contrast in design is interesting. Your discussion needs some expanding-how does the idea of contrast inform your understanding of the game?
Note that the title of the page should be your own.
Good overview of game and game play. What is the story of the work/game?
This Is How You Will Die' attempts to highlight the randomness that is characteristic of death; instead of predicting how we might die or worrying about it, we might as well mash together random ways one could die so as to create one coherent story. T
This idea of coherence from random elements (or of sentence parts in this case) is a frequent consideration of computer-generated lit.
Nelson strips away this comfort with great effectivity and pessimism while unsuccessfully attempting to hide this dark basis behind this piece of e-literature.
so is the game/work whimsical and humorous or dark and pessimistic?
n.
a grammar is based on rules and tends to be orderly. Inte
th.
interesting connection!
However what separates Everybody Dies from other works is that more freedom is given, you may drastically change the path, but never the outcome. T
interesting point. Text adventure fictions (like "Everybody Dies" seem to offer less insight into the whole network of possibilities.
As seen in the image, the last character is now within the current character and is quite confused at the situation.
good summary of this play. Needs some analysis too.
don't have much meaning, bu
I don't know--these phrase have a lot of meaning to me--they're very threatening.
By Claire Daugherty
This twine is great. I think that you need to set it up to tell your readers what it is and what to do --you could also link it on a separate page where it's featured as a summary.
Girl's Day Out
plural possessive!
When someone is involved or immersed in not just a game but any work they are going to get so much more out of it. Girl's Day Out may not be a video game, but it has a similar effect of engaging the reader with the slow reveal of a shocking murder, lack of sound and lack of color.
this connection is good. You need to expand the discussion to consider how this slow reveal presents surfaces and depths (?) in ways similar to how play situations allow both superficial entertainment and opportunities to explore values.
No description available.
needs a caption and citation
Some attention to design on this page is needed. An image or more. white space.
I'd also like to see some attention to how this focus gives some insight into the works exhibited. A few sentences could do that kind work.
regardless of the positions we hold.
I think this video clip is great--it's not clear how it's connected to the discussion--a pointer in the text (See video clip below) would be helpful.
es
syntax
he/her
they is the current gender neutral term.
the player
are the character/player the same?
The theme of the game was meant to respond the accusation that calling for diversity and feminism in the game has ruined games. Through the delibrate utilization of tone and dictions with sarcastic connotation, Dietrich Squinkifer has elevated the game to a new leval that projects some serious social issues reflected from the tension between gamers and the identification of a game.
you need to cite the author's and editors' introductions to Quing Quest on the ELC--you're paraphrasing and without a citation, your comments border on plagiarism.
This video is a demonstration of the reader getting rid of the words they do not want in the poem.
the video might be large for readability
No description available.
caption and citation needed
An image on the page would be very helpful to set up the chapter. You also need your name on every page you wrote.
Alessandra Padula
This author and the one below should be in the works cited page
."
you need to integrate this quotation more thoroughly--it's not really meaningful in the context of your discussion until you make it so in writing.
Continue onward to learn about Orange Sweatshirt
needs a link to the works cited as well
).
You need to include examples of these endings to give this page some body and to demonstrate careful work with images.
relationship.
see page note by clicking on page notes above
Great focus on this page. Animation works with more that words or tones!
Façade is an
Information about the author/programmer, date, and platform is needed here as well.
A collaboratively written introduction page that includes all your names and that introduces the theme, approach, and the insights offered by your collectively curated exhibit.Indicates the titles, authors/designers and dates of the works in the exhibit.Tells the reader how to navigate through the book.Sets forth a table of contents (or list of tags)
This should be edited out of the final copy.
Video Games of the Oppressed
essay titles go in quotation marks
I think also that to make this concept of audience/story separation work. you need to explain more carefully what that means in Frasca's essay and it "CG"
No description available.
you need a caption!
You should also limit your video clips to a manageable time (30 seconds to 2 minutes absolute maximum)
Also, sorry for everything being bolded. Scalar wouldn't let me change it after I copied and pasted from my Google Doc.
Sometimes Scalar imports source code from other programs in weird ways. You can go into the source code on the editing box of each page and delete unwanted attributes from the code.<br> I did this on the conclusion page.
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good explanation of this work's mechanic. It would be effective to include some specific textual examples either through images or quoting a particular generation.
spewn
strewn (or do you mean vomited?)
computers inability to have it’s
pay attention to apotrophes