SUPER HAPPY ADULT FUN TIME!

https://docs.google.com/presentation/d/1VUAxMvN8zoOx63PyusYvau7tSyL3YCWQNt9fMixJwhc/present#slide=id.p

"The King of Kong" Questions

1. Mitchell is unabashedly cocky and fond of self promotion, proclaiming himself the "Sauce King" of Florida for his successful line of homemade hot sauces. Next to his family, Mitchell considers his arcade scores his greatest achievements in life.

How typical are these types of values and attitudes among 'core' gamers and how important is it to understand these values if you are a game designer? What *are* these values, exactly?

Nothing is typical. Depending on the person, being cocky and shamelessly self-promoting is not a prerequisite of being a "core" gamer.

2. Steve Wiebe has been laid off as a Boeing engineer, and now spends his time as a science teacher. His friends and his wife, Nicole, describe him as a tragic figure who always comes up short, despite being proficient at music, sports, art, and mathematics.

Is Weibe's 'tragic' aspect typical of core gaming 'types'?

What role does self esteem (high or low) play in the culture of hard core gaming and such subcultures as competitive vintage or 'classic' game playing? How would you best describe the relationship between low self-esteem and videogame mastery?


Not at all is Wiebe's "tragic" aspect typical of core gaming "types". You gotta give some to get some. Sacrifices are always made because something's gotta give.

I don't believe self esteem was a greater issue than his confidence. Once Wiebe got into the "zone", he was open to competing publicly to have a fair, witnessed little competition.

Self-esteem is much more complex than just pitting it with its correlation with "videogame mastery".



3. Despite Wiebe's protests that his own first score was disqualified for being submitted via unsupervised videotape, Twin Galaxies accepts Mitchell's score over Wiebe's and proclaims that Mitchell is still the record holder.

How valid do you think videotaped gameplay should be in establishing videogame playing records?

If valid, why? If not valid, why not? 

These days, with powerful editing tools available, I would say videotaped gameplay should just be left invalid to avoid any cheating at all. However, with the exception that the machine has been verified and if there are witnesses.

4. Peter Travers of Rolling Stone gave the film 3 out of 4 stars, wondering "Who would have guessed that a documentary about gamers obsessed with scoring a world record at Donkey Kong would not only be roaringly funny but serve as a metaphor for the decline of Western civilization?"

What do you think of the film?

Is it an accurate portrayal of what makes videogames so compelling for those who play them?

I object to that statement. Although I can see their point of view, this film is merely one of countless isolated incidents and not enough to make such a bold statement as THIS particularly being "the decline of Western civilization".

What makes video games compelling differ wildly from person to person, so the film is necessarily an accurate portrayal for those gamers involved.

5. On November 10, 1981, Walter Day opened an arcade in Ottumwa, Iowa called Twin Galaxies. Though it was a modest arcade of merely 22 arcade games, it soon became known as the International Scorekeeper for the burgeoning video game industry. Under Day's direction, Twin Galaxies set rules for gameplay on hundreds of games, while maintaining a records database of competitive high scores. Twin Galaxies is considered by gaming historians as being the first organizer of professional gaming, putting competitive electronic gaming on the world map.

How important do you think organizations like Twin Galaxies are in the vintage arcade gaming community?

Could such communities exist without such organizations?

What role does Twin Galaxies play ultimately, and why is this significant to the film and its story?

For their time, I believe organizations such as Twin Galaxies are very important in the vintage arcade gaming community. Although communities could exist without such organizations, it would have been harder to set anything up without such an establishment. Twin Galaxies founder, Walter Day, was essentially "The Scorekeeper" and the one who started it all, keeping track of high scores and records.

6. The film depicts Wiebe's skill at Donkey Kong being linked to his ability to deeply understand the title's game mechanics, particularly the way that rhythm and timing work to ensure a successful outcome.

The film in one scene compared his love of drumming and his abilities at basketball as well as his musical talent as part and parcel of his gift at playing Donkey Kong.

How would you best describe this set of inter-related skills?

Have you experienced anything like this yourself when playing games? Have you been able to associate the skill of playing games with similar related skills and talents and how would you best describe the nature of this set of inter-relationships between skills/passions/abilities?

Wiebe's ability with sports, music, and the arts could certainly have contributed to the focus and concentration along with his quick reflexes and great hand-eye coordination in gameplaying.

Yes, I have experienced such skill set transference to aid my ability in a game. For example, I'm fairly comfortable with the aspect of timing or rhythm. When paired with great reflexes, it's not difficult to, say, press a button with proper timing for a game.

It's hard to describe the nature of the inter-relationship between skills, passions, and abilities because a passionless player with great skill may not necessarily have any motivation to "win" or set a record. On the other hand, if you have no ability with all the passion in the world, that may or may not matter. It all depends on the individual.

7. In the film, Wiebe, while playing the game says hello to Mitchell. Mitchell didn't respond. As he's walking away from Wiebe, Mitchell says, "There's certain people I don't want to spend too much time with." Mitchell offered no explanation for his behavior towards Wiebe but did later explain that at the time of filming, he had not played video games for "more than a year", and that the filmmakers had not given him enough advance warning to train for a public record-breaking attempt. Seth Gordon, the film's Director, in referring to Mitchell's character says that Mitchell "is a true puppet-master", "a master of information-control".

What do you think Gordon means by this? What role does such behavior play in general terms in videogame culture?


My interpretation of what Gordon's saying is that Mitchell was very sly in the way that he sent, let's call them, "henchmen" to keep an eye on Wiebe. He always knew what was going on, without being there. The information-control was played to Mitchell's advantage because he was deviously mysterious, while Wiebe's moves and play style were open for all to see. Wiebe didn't even get to see Mitchell's record-breaking tape at Funspot.

This type of behavior is a bit unacceptable. The videogame culture, in some areas, will always remain competitive, but that doesn't prohibit sportsmanship and respect. However, this can all vary based on culture, location, environment, etc.

8. What did you think of the film? Is it really only about the game "Donkey Kong" and those who seek to hold the highest score or is it really about something more?

I thoroughly enjoyed the film. It was very interesting to see at what lengths people will go to for a record (whether they do it honestly, unfairly, through corruption, etc.). There's certainly a deeper level to this than just the game "Donkey Kong". There's the aspect of ethics, competitiveness, passion, drive, and so much more.

9. Have you ever played "Donkey Kong"? What was your memory of playing it? Where were you, when was it?

Super Nintendo Donkey Kong, yes. Arcade Donkey Kong, no.

GAME 100 - Design Practice: Questions

1. How do you plan to deal with the issue of new players arriving in the middle of a long game? Get rid of the victory condition, or find a way to make sure that players are matched with those of similar ability?Players arriving late will need to wait for a new game round/turn/checkpoint.
Due to the mini-game based nature of the game, players will most-likely take turns passing the PSP back and forth amongst each other.


2. What will happen to the gameplay when a player vanishes? How will it affect the other players’ experience of the game (what they see and hear)? Does it disrupt the balance of the game? Will it make the challenges easier or harder? Is the game even meaningful anymore?
When a player vanishes, the gameplay is unaffected. Players can freely drop in and out, but will need to adhere to the arrival limitations previously mentioned. There is the option (perhaps, a manually-controlled input button or symbol on-screen before the mini-game start for players to keep score/track) to indicate and differentiate who completed/played which mini-game(s) during what turn number (like a history timeline--only for multiplayer).


3. What happens to the game’s score when a player vanishes? Is the game still fair?

The remaining player continues attempting a high streak, regardless of other players vanishing. The game's objective does not prohibit players to collectively work together to reach a high score/streak.


4. Does your game offer a player an advantage of some kind for intentionally disconnecting himself (whether by preventing himself from losing or by sealing his own victory)? Is there any way to minimize this without
penalizing players who are disconnected accidentally?


No.

5. In a turn-based game, what mechanism will you use to prevent a player from stalling play for the other players? Set a time limit? Allow simultaneous turns? Implement a reasonable default if the player does nothing?
N/A (not a turn-based game).



6. If you offer a chat mechanism, what features will you implement to keep it civil? Filters? A complaint system? An ignore system? Or will your game require moderated chat spaces?
There will be a complaint system as well as a block/silence/private user option, so that players may give feedback and have direct control over who they wish to silence.



7. Is your game designed to prevent (or alleviate) collusion? Because you can’t prevent players from talking to each other on the phone as they play, how will you address this? Or can you design your game in such a way that collusion is part of the gameplay, as in Diplomacy?

Collusion matters not because to set a high streak, if there is more than one player, players must work cooperatively together.

MMSP145 - Perspective Exercise

Begleiter's "Backwards Shot List" Exercise on page 190.

MMSP145 - Previsualization Exercise

"The Switch" created with FrameForge 3D.

MMSP145 - Composition Line Exercise

Perhaps I may have overcomplicated the lines for the last two compositions, but it appears to me that there are many lines that create movement for the eyes and still maintains a balance. The third image has an asymmetrical balance that contrasts the train and the figure in the far end of the overpass. Their lines, if continued, would converge in the distance and, in a way, unifies the composition.

Hero Builder Exercise

Using Hero Machine, the following three characters were created:

Dr. Knox

Vanity

Marx

Each character's costume colors can be modified to the player's liking. Their skin tone, if applicable, can also be changed. The weapons, however, are not modifiable. In their hypothetical fantasy/action-RPG setting, weapons are preset and predetermined depending on which character is chosen. The weapons are not interchangeable, so each character's play style will vary.

Dr. Knox - After a horrendous lab accident, Dr. Knox lost sight in both of his eyes and the pigments of his skin were damaged. Resulting from the accident, he has the ability to conjure up a noxious, poisonous, gelatinous sludge that enters enemy pores and poisons them to death.

Vanity - The vain daughter of Dr. Knox, who was also affected by his lab accident. Her skin turned to scales, which then solidified into a rock-like consistency. She covers up her whole body and only allows her eyes to be seen. In her belt, she keeps needles with supertoxin that neutralizes her enemies. The ring was her mother's, who died from the accident, and indicates her power/energy level. She is able to emit a paralyzing shockwave that stuns her enemies momentarily, where she may then inject her poison needles.

Marx - Marx is an aimless wanderer. He doesn't care for his past nor does he care for his future. He only deals in the moment. The scythe is his primary weapon of choice. No magical elements, just brute force--and skill gained from experience throughout his rough, grueling journey thus far. His secondary weapon also comes in handy as a melee aid, as it can be used in the manner of brass knuckles--except with deadly spikes.

MMSP145 - Single Image Storyboard

In this exercise, 8 to 14 shots were created from a single image into a storyboard process. I chose to do it on this Hieronymus Bosch piece. Here is the resulting storyboard:

MMSP145 - C4: Aspect Ratio

Summary -
Old American standard projection (pre-1952): 1.33:1 or 4:3
Today's HDTV standard format: 1.78:1 or 16:9

Prior to today's widescreen formats, however, in the mid '50s, 1.85:1 ratio was the standard widescreen format for projected feature projects. Today, the wider formats are still used in the Super 35, anamorphic, and 70mm shooting schemes.

General method to calculate a correctly proportioned frame: Figure out what size of paper will be used. Decide the height for the frame, then multiply it by the aspect ratio of your media. This method will give you a general storyboard dimension for the project.

MMSP145 - Storyboard Moment Exercise

For the record, please excuse my poor drawing skills. I'm just trying to make do with what I can, haha.

The Storyboard Moment Shot List

1.      Long shot, eye-level, static camera view of man standing on corner with bouquet of flowers behind back as he looks to the left of the frame.

2.      Mid-shot, eye-level, static camera view of man’s perspective of apartment buildings across the street.

3.      Close up, high angle, static camera view of door opening as a woman is seen coming outside.

4.      Close up, eye-level, static camera view on man’s reaction looking toward left of frame.

5.      Long shot, low angle view as the camera tracks out with the woman walking down the stairs.

6.      (see 1) except we’re zoomed in closer to the man as he keeps the flowers hidden

7.      Mid-shot, eye-level view of woman crossing the street from left to right as the camera crabs in her direction.  Note that when she reaches the man, camera moves to indicate breaking of 180° rule, so man is on left and she is on right.

8.      Close up, eye-level, static camera view of the couple and their eye contact.

9.      Mid-long shot, eye-level, static camera view behind the man’s shoulder as he surprises her with the bouquet of flowers. She’s delighted as she accepts and embraces him.

10.  Close up, high angle, static camera view as they “exchange” kisses.

11.  Mid-long shot, eye-level view as she wraps her arm around his right elbow with the camera tracking out while they walk away towards top of frame.

The Backstory to this Storyboard Moment

     In this particular scene of a romantic comedy, the man is meeting his girlfriend who’s just gotten back from visiting her parents. He hopes to surprise her with a bouquet of her favorite flowers. Their exchange is a kiss, besides his giving her the flowers. The scene ends as they blissfully walk away together to attend to their afternoon plans.

Google SketchUp Game World - "Sims Clue"

My game world is based in a mansion I found in the models database created by another user. The premise of the game combines the elements of the board game "Clue" with the "Sims" aesthetics.

Physical Dimension:

1. Does my game require a physical dimension? What is it used for? Is it an essential part of gameplay or merely cosmetic?

Since Clue is originally a board game, it doesn't particularly require a physical dimension, but a playing space or indicator of "rooms" and sorts is essential to gameplay.

2. Leaving aside issues of implementation or display, how many imaginary spatial dimensions does my game require? If there are three or more, can objects move continuously through the third and higher dimensions, or are these dimensions partitioned into discrete "layers" or zones?

The game can be 2D, but in the screenshots above, for aesthetic purposes, the different rooms are in 3D.

3. How big is my game world, in light-years or inches? Is accuracy of scale critical, as in a football game, or not, as in a cartoon-like action game?

The game world does not need to be scaled critically and can be cartoon-like, as all the gameplay occurs inside a mansion with different rooms.

4. Will my game need more than one scale, for indoor versus outdoor areas, for example? How many will it actually require?

There are no outdoor areas. Gameplay is strictly indoors to investigate rooms for clues.

5. How am I going to handle the relative sizes of objects and people? What about their relative speeds of movement?

People can select an avatar, but it'll be more of a point-and-click "find clues" in different areas, so the avatar will not be seen on screen. The speed of their movement is user-customized.

6. Who is my world bounded? Am I going to make an effort to disguise the "edge of the world," and if so, with what? What happens if the player tries to go beyond so?

Because gameplay occurs within the mansion, the "edge of the world" will be the walls. The player will not be able to go through the walls.

Temporal Dimension:

1. Is time a meaningful element of my game? Does the passage of time change anything in the game world even if the player does nothing, or does the world simply sit still and wait for the player to do something?

Depending on the number of players, a time limit can be set, so inactive players don't need to wait forever for another person to take their turn. Otherwise, the world will stay still and wait for the player to do something.

2. If time does change the world, what effects does it have? Does food decay, and do light bulbs burn out?

N/A

3. How does time affect the player's avatar? Does he get hungry or tired?

The player's avatar is unaffected by time.

4. What is the actual purpose of including time in my game? Is it only a part of the atmosphere, or is it an essential part of the gameplay?

The purpose of time is only for multiplayer mode, so players don't need to sit around waiting endlessly on one person.

5. Is there a time scale for my game? Do I need to have measurable quantities of time, such as hours, days, and years, or can I just let time go by without bothering to measure it? Does the player need a clock to keep track of time?

There is no time scale. The player need not worry about keeping track of time.

6. Are there periods of time that I'm going to skip or do without? Is this going to be visible to the player, or will it happen seamlessly?

N/A

7. Do I need to implement day and night? If I do, what will make night different from day? Will it merely look different, or will it have other effects as well? What about seasons?

N/A

8. Will any of the time in my game need to be anomalous? If so, why? Will that bother the player? Do I need to explain it away, and if so, how?

N/A

9. Should the player be allowed to adjust time in any way? Why, how, and when?

In multiplayer mode, before the game begins, the players will decide if a time limit per turn is set and for how long.

Environmental Dimension:

1. Is my game world set in a particular historical period or geographic location? When and where? Is it an alternate reality, and if so, what makes it different from outs?

The game world is based in a mansion.

2. Are there any people in my game world? What are they like? Do they have a complex, highly organized society or a simple, tribal one? How do they govern themselves? How is this social structure reflected in their physical surroundings? Are there different classes of people, guilds, or specialized occupations?

There is a dead person due to foul play and the only other people are the other players, one of which is the murderer.

3. What do my people value? Trade, martial prowess, imperialism, peace? What kind of lives do they lead in pursuit of these ends? Are they hunters, nomadic, agrarian, industrialized, even postindustrial? How does this affect their buildings and clothing?

My people value the truth in "whodunit".

4. Are my people superstitious or religious? Do they have institutions or religious practices that will be visible in the game? Are there religious buildings? Do the people carry charms or display spiritual emblems?

No.

5. What are my people's aesthetics like? Are they flamboyant or reserved, chaotic or orderly, bright or subtle? What colors do they like? Do they prefer straight lines or curves?

Players get to customize their avatars to their liking.

6. If there aren't any people in the game, what are there instead, and what do they look like and how do they behave?

N/A

7. Does my game take place indoors or outdoors, or both? If indoors, what are the furnishings and interior decor like? If outdoors, what is the geography and architecture like?

The game takes place indoors in a furnished mansion.

8. What are the style and mood of my game? How am I going to create them with art, sound, and music?

There can be unlocked styles ranging from wacky, contemporary, cultural, etc. stylings. The mood of the game will be suspenseful, but light-hearted with a touch of dark humor (after all, we are trying to find a murderer).

9. How much detail can I afford in my game? Will it be rich and varied or sparse and uncluttered? How does this affect the way the game is played?

The gameplay doesn't require too much detail. There will be different areas with interactive spots where clues can be sought to uncover the truth.

Emotional Dimension:

1. Does my game have a significant emotional dimension? What emotions will my game world include?

No.

2. How does emotion serve the entertainment value of my game? Is it a key element of the plot? Does it motivate characters in the game or the player himself?

There isn't much of an emotional element in the game.

3. What emotions will I try to inspire in the player? How will I do this? What will be at stake?

If in multiplayer mode, a sense of competition can be invoked because the first to uncover the truth wins.

Ethical Dimension:

1. What constitutes right and wrong in my game? What player actions do I reward and what do I punish?

It's wrong to commit a murder, but no punishment is appointed because the point of the game is to find out who did what and where. Wrongful accusation will result in disqualification. Correctly identifying the who, what, and where first wins the game.

2. How will I explain the ethical dimensions of the world to the player? What tells him how to behave and what is expected of him?

There will be a set of rules to abide by prior to gameplay, much like the board game.

3. If my game world includes conflict or competition, is it represented as violence or as something else (racing to a finish, winning an economic competition, outmaneuvering the other side)?

The first player to discover who, with what, and where the foul play occurred wins.

4. What range of choices am I offering my player? Are there both violent and nonviolent ways to accomplish something? Is the player rewarded in any way for minimizing casualties or is he punished for ignoring them?

The choices are based primarily in searching for clues and asking questions. Violence is not a part of the game (besides the foul play plot).

5. In many games, the end -winning the game- justifies any means that the game allows. Do I want to define the victory conditions in such a way that not all means are acceptable?

As mentioned in the answer to #1, a wrongful accusation will result in disqualification, so the game cannot be won.

6. Are any other ethical questions present in my game world? Can my player lie, cheat, steal, break promises, or double-cross anyone? Can she abuse, torture, or enslave anyone? Are there positive or negative consequences for these actions?

Players cannot lie, cheat, steal, or double-cross anyone. It's a fair, level playing field.

7. Does my world contain any ethical ambiguities or moral dilemmas? How does making one choice over another affect the player, the plot, and the gameplay?

N/A

8. How realistic is my portrayal of violence? Does the realism appropriately serve the entertainment value of the game?

Besides the foul play at hand (at highest, rated "PG"), there is no portrayal of violence. It only serves as a plot point to aid the main objective of discovering "whodunit".

MMSP145 - "Quantum of Solace" Shot List Exercise

In this exercise, I analyzed the scale, angle, camera movement and character blocking of scenes or sequencing I found to be compelling. Although there were many scenes that piqued my interest, I decided that the introductory car chase scene had the most dynamism and, of course, I surely don't mind staring at the sexy, sexy Aston Martin Bond car.

// Note: My reference for the different shot types is from this website. However, mind you, my shot list consists primarily of vehicular-related shots, so take it as a general reference.

Shot list:

1. Extra long-shot (XLS), eye-level camera tracks in toward the mountain from the ocean
2. Extra close-up (XCU), eye-level, static camera view of the side of James Bond's car (Aston Martin) as it's in motion [as with many of these shots that are just mere glimpses of the scene, this was a quick shot]
3. XCU, high angle, static camera view of the hood
4. XCU, eye-level, static camera view of the exhaust
5. (see 1) except the camera is now zoomed in closer to the mountain
6. Close-up (CU), eye-level shot of a couple vehicles driving away from the camera as it crabs right
7. Interior of a vehicle, CU, high angle, static shot of hand preparing ammunition
8. Medium close-up (MCU), eye-level, static camera view of a vehicle front end as it comes closer toward the camera
9. Big close-up (BCU), low angle, static camera view of vehicle in (8) as it drives from right to left of frame
10. (1) at this point, we've tracked in enough to see, from a distance, the tunnel these vehicles are traveling in at the base of the mountain
11. XCU, eye-level, static camera view of the Aston Martin wheel spinning in action
12. BCU, eye-level, static camera view of vehicle rear
13. XCU, eye-level, static shot of the right headlight/front of the vehicle
14. XCU, eye-level, static shot of Bond's eye
15. XCU, low angle, static shot of thumb flipping a switch
16. (14)
17. (1) camera specifically tracks in to tunnel now as exciting chase music cues
18. (11)
19. (3)
20. Starts with CU, eye-level view of passenger side rear wheel of Bond's car as it drives to the right of the frame passing a couple pedestrian vehicles. The camera then tracks out and subtly crabs right following vehicle direction. Ends with mid-shot (MS), low angle view of the Aston Martin.
21. BCU, eye-level, static shot of driver's side mirror as vehicles are seen quickly approaching
22. MS, low angle, static shot of lead pursuing vehicle front end with a man shooting a gun from passenger window as it drives toward the right of the frame
23. MCU, eye-level, static shot of the man firing weapon towards right of frame (at Bond)
24. Starts with XCU, eye-level view of the rear hood of Bond's car. The camera pans left as the glass shatters from the rounds fired. The driver's side mirror is where the shot ends.
25. Starts with MS, low angle, side view of pursuing vehicle with man shooting. The camera pans right and ends when the front hood of the vehicle enters the frame.
26. Long shot (LS), eye-level view of the rear of Bond's car (on the right side of the frame) driving away from the camera as two pursuing vehicles drive past the camera (from bottom left). The camera slightly tracks in towards the direction of the vehicles.
27. Starts with XCU, eye-level view of the driver side door of Bond's car with a clear reflection of the assailing vehicle(s) seen. The camera then pans right to enter the two pursuing vehicles into the frame at MS to Mid-long shot (MLS), low angle view. Shot ends with Bond's driver side rear wheel still visible on the left side of the frame along with the two pursuing vehicles.
28. CU, eye-level, static shot of Bond driving
29. MCU, eye-level shot of Aston Martin rear as the camera subtly pans left to follow its lane change
30. Interior of assailant's vehicle, LS, eye-level, static camera view of Bond's car as both vehicles drive past civilian vehicles
31. BCU, eye-level shot of the front-end of pursuing vehicle as camera pans left to the shooter
32. (23)
33. CU, eye-level of truck tire shot and shredding to pieces as the camera pans in closer
34. Bond's car (on the right side of frame) and the truck (on the left) are seen MS-MCU at eye-level. The tire is shredding fast as the camera tracks out, the truck loses control and veers toward Bond at CU-MCU, eye-level.
35. Interior of Bond's car, CU, eye-level, static camera view shows Bond driving (from behind) and his eyes are revealed through the rear view mirror. The truck is seen losing control veering left and ends with the rear of the truck directly in front of Bond's car.
36. LS, high angle, static camera view of the front of the truck as it scrapes against the wall coming CU towards the camera

// Edit: Here is a youtube clip that the shot list references (~0:36 - 1:16). As of this edit, I realize that I missed the shot right after the tracking into the tunnel when he shifts gears and the clutch, brake, and gas pedals are momentarily captured.

MMSP145 - 3 Act Structure Paragraph

In the beginning setting (which starts at Plot Point 1), a man is being pursued. He’s searching for a place to hide—searching for answers. He ends up in a woman’s house. Act 1 consists of a back story that includes flashing back to a tragic and troubled adolescence as well as a love affair with substance abuse. Act II involves a love interest that motivates his transition from dark times to brighter days. Plot Point 2 occurs when she is taken away from him as he struggles with regressing to old habits. Act III concludes with the murder of an innocent and suicide.

The Picasso Game (Concept)

https://docs.google.com/present/edit?id=0AVx0QEmOQW7fZGdwM2Z6M2RfMGhobjhrNmQy

MMSP145 - Shot List Exercise

American Psycho Script: http://www.dailyscript.com/scripts/american_psycho_unproduced.html

I used the following introductory paragraph of the script to create a personal shot list totaling 5 shots:
"Enormous grey buildings, cold and impersonal, reach up to the sky. HOMELESS PEOPLE lay passed out on the sidewalk, in doorways, on benches. A grotesque disfiguration on an otherwise perfect, gleaming surface, they beg for food, for change - anything. Pathetic and broken, they are ignored by Wall Street's ruling class."

1) Long-shot, worm's eye view of enormous grey buildings

2) Mid-shot, eye-level view of homeless people

3) Close-up, high-view of homeless person on bench

4) Extra-long-shot, eye-level of Wall St. buildings contrasted by begging homeless

5) Mid-long-shot, high-view angle behind Wall St. businessman as he ignores and walks past homeless man


Edit: Finally found time to scan, so here is the uploaded storyboard image originally attached to the shot list.

Donkey Kong Online

http://www.donkeykong1.com/


Time limit for exercise - 20 minutes.


1) How would you describe the level of engagement compared to more action oriented games from the same period?

The level of engagement for this game ranges from low-high depending on how motivated the player is in spending time to score points. If the player wants to just breeze through the levels, a high score most-likely will not be achieved. In order to score points, the player must either jump over items, destroy items, or collect items. Donkey Kong certainly challenges the player with proper timing and a puzzle-like aspect as to when and where the barrels fall.


2) What role does setting and characterisation play in the game?

The setting consists of levels created by beam-like structures that the player must head to the top of in order to save the girl. The characterisation of the game, where the player is protagonist Mario and Donkey Kong is the antagonist gorilla on top of the building throwing barrels your way is in some ways familiar (e.g. King Kong). This familiarity enhances the "save the girl" objective and possibly adds to the level of player engagement.


3) How do spells, pickups and power-ups assist the game play?

Pickups and power-ups assist the game play by giving the player a change of pace and a sense of randomness. Through my playthrough however, I never encountered any pickups or power-ups. If I had, game play would be assisted because my experience with the game would have been altered at that point since it was no longer the "norm", or what was expected. The pickups and power-ups are "bonuses"--like a treat to the player--it's not necessarily needed, but it's nice to have.

The Legend of Zelda Online

Play "Legend of Zelda" online using this java-based version:
http://www.dan-dare.org/FreeFun/Games/ZeldaDarkness.htm


Time limit for exercise - 20 minutes.


1) How would you describe the level of engagement compared to more action oriented games from the same period?

The level of engagement for this game is quite high as it allows the player to control how much exploration and "looting" to do. You're allowed to cut each and every grass pile, if you so choose. You can run past enemies (excluding bosses) and progress further without consequence. The game gives the player a sense of freedom and choice by dropping you into the story and then not really giving much instruction as to what you need to do except for the fact that you need to find the seeds of darkness and destroy them.


2) What role does setting and characterisation play in the game?

From what I got out of the ~20(+) minutes of playtime, the surrounding setting of the hero's home is a forest of trees laid out in a maze-like fashion, where you must find your way out of to progress with the story. Link has the ability to use his sword or shield, as well as other weapons later in the game. This enhances the personal experience of the sense of freedom and choice mentioned above.


3) How do spells, pickups and power-ups assist the game play?

Spells, pickups, and power-ups assist the game play by giving the player more options to choose from. Say, if a player were to create a challenge where no pickups are allowed during play, they have the choice of attempting to beat the game without pickups. On the other hand, if the player decided that gathering every pickup could be a side-challenge along with the main goal of destroying the seeds of darkness, the option is there. However, there are also many other ways spells, pickups, and power-ups assist game play. For example, giving the player a limited, powerful boost provides a new experience than what consists of normal gameplay--a "bonus" if you will.

I, Videogame Episode 2 Survey

QUESTIONS:

1) What kind of company was Nintendo before it made videogame and videogame consoles?
They were a toy company that sold everything from plastic toys to playing cards.

2) What videogame system did it sell before it made its FAMICOM (known in USA as Nintendo Entertainment System)
Magnavox Odyssey.

3) Shigeru Miyamoto was not a programmer - what skill set did he bring to the industry?
Miyamoto was an artist who brought forth the storytelling skill set.

4) How did the limits of the technology affect the way Mario could be shown?
It affected Mario's character entirely, from his size to his hat to his mustache; to his nose and even the colors of his uniform.

5) Why did US retailers think there was no future in home videogame consoles at the time just prior to the NES release in the USA?
The crash of 1983--ET. Generally, there was no story involved in video games prior to the NES release.

6) What was assumed to be the 'next big thing' by electronics manufacturers?
The personal computer.

7) What did Legend of Zelda bring to gaming that was new?
An exploration experience as well as the ability to grow your character, e.g. Link starts off weak but ends up being stronger with an array of weapons. (RPG + Action)

8) How did the conservative values of the 1980s (Reagan & Thatcher etc) affect the culture of videogames?
Reaganomics promoted consumerism, which aided video games as an aspired purchase. The culture was more narcissistic, e.g. Sonic's "anti-hero" character.

9) How were the PC games published by Mystery House like King's Quest different from console games?
They required patience and the player to use their mind. It was a literary game.

10) How did Sega's 16 big Megadrive system change home console gaming?
It allowed for faster processing as well as better graphics.

11) How did "Leisure Suit Larry" differ from most genre based games of the period?
It was the first "racy" game of its kind for adults, as well as touching upon real-life situations and issues.

12) How is this aspect reflected in many games of today?
Sex sells and explicit content, as well as a sense of realism remains very alive in many games of today.

13) What is 'motion capture'
A technological method where the process by which markers are placed on a person that captures their movement data.

14) What is the 'uncanny valley'?
 The awkwardness and repulsive effect that humans get from the very realistic, but "dead" looking human characters due to their "off" expressions.

Batman: The Brave and the Bold Game Creator

The challenges and actions that make up the game level require the player to collect all orbs and reach the portal in order to successfully complete the stage.

The camera mode is a static, side-view perspective of the entire level.

The player uses the arrow keys to move and jump.

The goal of the game is to survive and complete the stage as quickly as possible.

Star Wars: The Clone Wars Game Creator

The challenges and actions that make up the game level require the player to collect all "holocrons" and reach the portal in order to successfully complete the stage.

The camera mode is a top-down, side-scrolling perspective of the level that follows the player's moves.

The player uses the arrow keys and keyboard to move and attack.

The goal of the game is to survive and complete the stage as quickly as possible.

Ben 10 Alien Force Game Creator

The challenges and actions that make up the game level require the player to dodge enemies, time their jumps, and collect all orbs and reach the portal in order to successfully complete the stage.

The camera mode is a static, side-view perspective of the entire level.

The player uses the arrow keys on the board to move and jump.

The goal of the game is to survive and complete the stage as quickly as possible.

David Rolfe

As I was browsing this page of The Dot Eaters' website, I wanted to learn more about this David Rolfe fellow--leading me to: http://www.digitpress.com/library/interviews/interview_david_rolfe.html. Pretty neat stuff!