Agency is the satisfying power to take meaningful action and see the results of our decisions and choices.

Distinguished from the commonplace trope of an orphan discovering their destiny, t

Solnit.

nvisible illness," a.k.a. depression

n games isn't actually possible,

No description available.

If you compare the figure below with the picture on page 1 of my book yo

the reader achieves an understanding of the emotional issues that others face.

an entertaining perspective

Development Page 1 Justin

aken out of historical, political, social, economic and cultural context to paint Muslims in a certain undesirable light

mindlesslessly consuming

(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.

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

s the issue of decontextualisation, which is something imposed onto Muslims.

Jussi Parikk

silly!"

Survive the Century" and "My Coastal Futures

agency is

This creates a continuous desire to immerse themselves within the landscapes due to the discomfort that they sense

No description available.

but in reality Sunny actually commits suicide by jumping off of a hospital balcony.

.

though it is examined on the HUD and Overlays page

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.

UI..

No description available

MLA citations for all referenced works

Murray, Janet. "Hamlet on the Holodeck." MIT Press, 1997.

To

bring different meanings to the table about why we feel certain ways about discovery games.

the games foster empathy and understanding, challenging players to confront their own biases and preconceptions.

ughts.”

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.

Mental Health Day. This is a work created on itch and created by a user called myleshouse.

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.

The next

mainly on mental health.

"

st.

ge,

This

s. In

which bears great similarity to a real person.

In this passage, Murray argues

Looking across the open ocean into a distant horizon evokes in the player's mind ideas of possibility and journe

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

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.

This image portrays how the internet isolates users with feelings of individualism, while also giving them a sense of publicity with others.

a person's imagination

format by giving the reader much more agency over the events of the story.

moving around a digital environment

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

the ideas Pardeck had about th

consumers

Nair

digital forms are slowly becoming more popular than traditional books

the maze orientation where there is a single solution

Murray suggests that moving forward in adventure games elicits both feelings of success and agency in the reader.

specific choices

.

o.

process their emotions

by relating to a fictional character

powerful tool

acilitate psychological realizations

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).

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.

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.

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.

Agency is the satisfying power to take meaningful action and see the results of our decisions and choices.

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.

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.

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.

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).

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.

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.

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. 

This screencast displays the animation features i

: episodic and semantic memories.

poetic response to DuPlessis's essay.

).

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.

I see

he player is able to understand Theodora's experience and gain a perspective on the struggles caused by autism. 

and is typically considered to not be a proper video game.

losing grasp

erge Bouchardon and Vincent Volckaert's "Loss of Grasp" (2010)

Hazel Smith's "Motions" (2014)

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.

as its own shock value, for whatever  that’s worth.

To play this story. Click Bogeyman above.

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.

society.

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.

this story begins with a human sacrifice—an issue that, as Meadows mentions on page 24 of Pause & Effect, is something universal

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.

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.

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.”

this 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.

.”

-such as JackSepticEye and Brutalmoose-

One of the floating stanzas scattered throughout the virtual world

The author’s specific use of such poetry is used to make a claim regarding the antiquity of traditional writing. Th

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.

seen strewn all around the player.

With each transformation the avatar loses more and more of his physical self. 

Loss of Individuality PreziYoliztli Lopez

r. 

Contrast is the difference between elements, where the combination of those elements makes one element stand out from another.” Th

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

Nelson strips away this comfort with great effectivity and pessimism while unsuccessfully attempting to hide this dark basis behind this piece of e-literature. 

n.

th.

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

As seen in the image, the last character is now within the current character and is quite confused at the situation.

don't have much meaning, bu

By Claire Daugherty

Girl's Day Out

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. 

No description available.

regardless of the positions we hold.

es

he/her

the player

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.

This video is a demonstration of the reader getting rid of the words they do not want in the poem.

No description available.

Alessandra Padula

."

Continue onward to learn about Orange Sweatshirt

).

relationship.

Façade is an

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)

Video Games of the Oppressed

No description available.

Also, sorry for everything being bolded. Scalar wouldn't let me change it after I copied and pasted from my Google Doc.

.

spewn

computers inability to have it’s

Early generational A.I. attempting to generate poetry

real world differently.

Evolution

The subtle layers in this illustration show the unrealistic body expectations society holds for women, and how anorexia can force people to starve themselves in an effort to try and reach these standards. 

, "a player's available choices can express a particular understanding of the world, such as the extent to which fate either is in the hands of individuals or societies" (1).

This use of combined visual and media elements in the “Loss Undersea” also serves as an example of how a work of electronic literature fits the genre definition constructed by Electronic Literature Organization, or the ELO.

The work shows how electronic literature is essentially a “hopeful monster” in terms of its construction, since this image alone, and the entirety of “ Lost Undersea” for that matter, is an amalgamation of a multitude of technological backgrounds, expertisis, and forms (Hayles).

http://groups.csail.mit.edu/icelab/content/loss-undersea

All in all, the work depicts the loss of humanity, or the loss of oneself, that takes place as a result of the experiences faced in everyday society. It portrays the ongoing struggle for happiness faced on a daily basis, and in turn, the constraints that modern society puts on an individual.

to convey their story.

Public Secret Video 2Source: YouTube