A game which combines both a branching storyline and moral quandaries without quantification is Undertale. Undertale, as a game, utilizes its status as a pieces of software in order to tell the story. Much like OFF, it does not always treat the player and the player’s avatar, Frisk, as one
Professor Yates English 101 12 May 2013 Summary and Response Tom Bissell, in his essay, “Extra Lives: Why Video Games Matter” has described video games and how they are unique and different from movies, books, or even interactive films. Bissell says “I came to accept that games were incompetent with almost every aspect of what I would call traditional narrative.” This is showing the readers that even though there is a plot and story line, as characters can control and alter the story line or outcome by what you do or see throughout the game.
The Stanley Parable (2013) was a game released to widespread acclaim about a man named Stanley, whose coworkers mysteriously disappear from the office and whose actions and choices are subsequently voiced by a narrator. While at first the game might seem simple and ordinary, the longer spent in the game the more complex the narrative is revealed to be. The game satirizes a lot of conventions and narrative tropes used throughout the games industry, as well as commenting on other facets tied heavily to the games medium, like hacks, bugs, and even gameplay. While that might not be special in itself, what makes The Stanley Parable stand out is how it goes about commenting on these things. By having the player control Stanley and have all their actions chronicled by the narrator, the game has created these three distinct entities: The player, Stanley and the narrator. The relationship between these three is the primary way the game is able to explore certain themes such as player agency, and how much choice matters. According to Astrid Ensslin, “As players we are made to read [the game] as an allegory of illusory agency built into games to give players the illusion of choice, power and control. In fact, we as players are all Stanley because again and again we willingly or even enthusiastically subject ourselves to the constraints set by the games we play” (Ensslin 67). The many different endings contained within The Stanley Parable interacts with these relationships in varying
Single-Player Mode First, the single-player mode is typically largely story-rich. Developers found a way to engage lone players, by captivating them with a story background, often with an unfolding story throughout the game. For example, in Ori and the Blind Forest, the game begins with a touching story about Ori, the main protagonist. His heartfelt story coupled with the enchanting musical score and artwork, plus the often challenging obstacles a player must overcome, makes this platformer game story-rich and memorable. Similarly, some games include an interactive story, where the player can select conversational responses or make detrimental decisions as to how the character 's morale develops and how the story goes. In the role-playing Fable series, the choices made by the player, dictate how the character develops and how the story pans out. The player determines whether their character is good or evil, in regards to the way their character responds to the built-in characters, or commonly referred to as artificial intelligence, in the game, along with what personal, social and political choices they deem fit. Second, single-player mode offers players a self-reliant environment.
Annabelle risks her life to stow Toby away in her barn, Toby risks his life to rescue Betty, and save her life, and Annabelle risks her life again to save Toby. Almost all the characters in the book are able to risk their own lives to save someone else. The reader learns if life presents you with a situation to risk yourself to save someone else, take a risk, and go for
Using persuasive writing, Wright begins to influence his audience that game play is a beneficial source of entertainment not a wasteful one. Playing video games increases creatively, self esteem and improve problem solving skills of the players. Video games are becoming test runs that appear or feel close to the real thing. Where you can control everything with added effects like magic or future technology. Games have the potential to exceed almost all other forms of entertainment media. They tell stories, play music, challenge us, allow us to instantly communicate and interact with others. Encourage us to create things, connect us to new communities, and let us play with people across the world. Unlike most other forms of media, games are inherently tangible. According to Wright young children spend their days in imaginary worlds, substituting toys and make believe into the real world that they are just beginning to explore and understand. Wright states that games are the result of imagination and that they consist of rules and goals. Generation of teenagers has grown up with different set of games. Teenagers use the scientific method rather than reading the manual first. Games today maybe a person’s only place to express a high-level of creativity and growth. Older generations have a lot of criticisms for games, the games can help a person learn to think on his or her own.
Concluding Each person has their own story. Some are similar but also different. What makes the stories different , however, is their motive which can change at the turn of a dime. In the book Into the Wild, Chris abandons all he knows and treks ‘into the wild’ to find himself. He chooses to live a solitary life in an attempt to discover who he really is and how is different in real life. Also, sometime we have to think positive about the decision we decide to take
For several decades, video games have been cast aside as detractors of student learning in the classroom. According to the research done by Mifsud, Vella, and Camilleri (2013), there is yet still an abundance of research that needs to be conducted, in order to determine the usefulness of video game application in schools. This research synthesis collects data on several different viewpoints and uses of video games in regards to complementing student engagement and learning. The research of James Gee (2005), hypothesized that good video games use good learning principles, of which there are a several. These learning principles include identity, interaction, production, risk-taking, challenge and consolidation, and system thinking. The specific descriptions of each principle will be dissected throughout this synthesis.
Most Interesting Plot Imagine a story with lots of action, well developed plot structure, and interesting resolutions while teaching life lessons. This is the dream of an enthusiastic reader. When reading a story, a reader looks for something that will quickly engage his or her attention. Rising action in a story satisfies this need. In “Most Dangerous Game” the main character faces many challenges, namely the danger of being stalked by General Zaroff, an avid hunter who idolizes hunting and has taken it to an extreme. Similarly, Tom in “Contents of A Dead Man’s Pocket” faces danger and possible death when he walks onto a high ledge. To help engage the reader, “Most Dangerous Game” and “Contents of A Dead Man’s Pocket” both use thrilling,
Johnson tells us that during television shows and movies, the narratives force the mind to “fill in the blanks” —a way to “exercise its emotional intelligence” (136). As well as that, he tells us that during video games the mind is forced to make decisions that are for the best [in the game’s narrative context], or to extend the thinking process with expeditions and achievements one must complete in order to progress further into the
The Walking Dead – Fandom The Walking Dead consists of zombies, survival, and morals that are twisted into an awesome storyline that draws its audience into wanting more. If you were a true fan like me then you would know that, the Walking Dead was originally a comic book series that had several successful spin-offs. The T.V. series and the video game taken over the discourse community with its highly successful run of lately. In my research proposal, I will explain where I am doing my research, what I will be looking for, why they are appropriate research sites, what are my connections to my fandom, and hopefully teach you about unfamiliar questions you have on the Walking Dead. I will be examining the Walking Dead creativity, as a result of how they play on the fear and mind of the audience. This leads you to believe that fear is far from the possible truth.
The game by Telltale known as, “The Walking Dead”, places the player in morally ambiguous situations where the player thinks their actions are responsible (inter(re)activity) and feel that exact responsibility (empathy). An article by Smethurst, Toby, and Stef Craps, “Playing with Trauma: Inter(re)activity, Empathy and Complicity in The Walking Dead Video Game.”, suggests this morel conundrum on how “games [have the] ability to involve the player in the game world through inter(re)activity” (Smethurst and Craps). There lyes a misconception in the game “The Walking Dead” where the player is introduced to believe the players decisions effect a different outcome to how the storyline will turn out.
In most non-existential media, characters often receive consequences that are fitting for their actions. While objective, morality and consequences have a direct relationship in non-existential films, television shows, books, and video games; good characters are often rewarded in the end for their heroic actions, while the evil is punished. This, however, is not the case in existential media. This kind of media focuses around the idea that there is no outside witness determining our fate based on the morality of our actions. Characters make their own choices, thus shaping their own interpretation of morality. In this type of media, good and evil is not only objective and open to interpretation, it is also accessible. Every character has the
The widely popular TV series, Game of Thrones, has produced a slew of new movie stars. After all, Game of Thrones is arguably the most popular television show on the planet (Walking Dead fans might disagree) – so it only makes sense that whenever one of its stars is
Video Games and Responsibility: In discussions of video games, one controversial issue has been whose responsibility it is to deal with the behavioral problems of children and teens who get influenced by the content in games. On one hand, the game industry argues that the responsibility should lie with whomever bought the game. On the other hand, others such as parents and Parental guidance agencies contend that their children’s bad behavior stems from games and that the video game industry should regulate the content to protect children from negative influences within the game. Others even maintain that video games promote violent crimes. My own view is that it depends on the person playing the game because certain people can be more influential than others, especially children. I also believe that it is the responsibility of the buyer to know the game that they or their children are playing and to take responsibility for the things that happens within their own household.