Project 2 Design/Play/Disrupt (Task 2)

HOW MIGHT WE DESIGN GAMES WHICH
REWARD PLAYERS FOR AVOIDING VIOLENCE?

Violence is an unavoidable part of our culture, and an even more unavoidable part of videogames. So, I am not, and cannot, say that violence can’t or shouldn’t be there. I am saying however, that we should be looking at why violence is there . . . and how it affects us, as individuals who are presumably not planning to murder a large house full of people.

Liz Ryerson “The Monster Within”, Midnight Resistance, 11 May 2012


I decided on violence in video games because it was the topic that I wanted to take.

Thinking about it I’ve realized that most of the video games I’ve played in my life are violent in one way or another. Some more… others less… Somehow…

Let’s say that Learning games, games that promote Love, empathy, care, exercise, that teach healthy lifestyles don’t sell much… Because this society is too conditioned by the big media.

These are the ones who MORE encourage violence. And the problem is that they normalize it in so many areas it is normal that when you play violent games people want them! Because you give them the possibility to act as their leaders in the movies! With total freedom and without consequences in the real world…

Effects of Reward Violence

Here I show a scheme in which it shows the problems of Rewarding violence, but not only in video games! If not in all life situations!

Real or Digital Affects Us Equal

Many studies claim not to have actually found a direct relationship between violence in video games and violence in reality. They say that the problem with video games is that they make people more selfish and with more social problems and more problems to relate.
What proves frustration when it comes to not being able to do things more normal and everyday like the rest of the people around you.
And it is this frustration in some cases that proves that individuals react with violence.

But here’s the problem… Both violent and nonviolent games cause the same symptoms…


Variable Proportion Rewards

Seeking to compensate for the use of nonviolence in video games I found techniques that make you think a lot. But the problem is that most companies use them! One of these techniques is variable proportion rewards.

To make the player see that he has different possibilities to get something or better still to give him a reward when he does not wait for it. That makes them want more! And since the rewards can vary and only depend on the number of times you repeat an action to achieve the desired causes the player to play longer than expected and with more desire.

Slot machines are basically Skinner boxes for humans.

Skinner boxes is a laboratory apparatus used to study animal behavior.

Slot machines and online games are sometimes cited as examples of human devices that use sophisticated operant schedules of reinforcement to reward repetitive actions.

Social networking services such as Google, Facebook and Twitter have been identified as using the techniques. Critics use terms such as Skinnerian marketing for the way the companies use the ideas to keep users engaged and using the service.

Gamification, the technique of using game design elements in non-game contexts, has also been described as using operant conditioning and other behaviorist techniques to encourage desired user behaviors.

Skinner Box


Trick players into having fun

Someone


References

Davidow, B. (2019). Skinner Marketing: We’re the Rats, and Facebook Likes Are the Reward.

The Atlantic. Available at: https://www.theatlantic.com/technology/archive/2013/06/skinner-marketing-were-the-rats-and-facebook-likes-are-the-reward/276613/ [Accessed 12 Dec. 2019].

En.wikipedia.org. (2019). Jack Thompson (activist). [online] Available at: https://en.wikipedia.org/wiki/Jack_Thompson_%28activist%29 [Accessed 12 Dec. 2019].

Lib.dr.iastate.edu. (2019). [online] Available at: https://lib.dr.iastate.edu/cgi/viewcontent.cgi?article=1326&context=rtd [Accessed 12 Dec. 2019].

Metro.co.uk. (2019). Weekend Hot Topic, part 2: Best non-violent video games | Metro News.

Available at:

Weekend Hot Topic, part 2: Best non-violent video games
[Accessed 12 Dec. 2019].

Scholarcommons.usf.edu. (2019). [online] Available at: https://scholarcommons.usf.edu/cgi/viewcontent.cgi?article=1062&context=honors_et [Accessed 12 Dec. 2019].

The Courier. (2019). Design/Play/Disrupt: ‘Complexity of videogames’ explored at new V&A Dundee exhibition – The Courier.

Available at:

Design/Play/Disrupt: ‘Complexity of videogames’ explored at new V&A Dundee exhibition
[Accessed 12 Dec. 2019].

Vam.ac.uk. (2019). Videogames: Design/Play/Disrupt. [online] Available at: https://www.vam.ac.uk/shop/videogames-design-play-disrupt-154922.html [Accessed 12 Dec. 2019].

Project 2 Design/Play/Disrupt (Task 1)

Task 1: Critical Perspectives and Contextual Research

This project has been for me more complicated than I expected, a lot of information to look for, many websites, books, opinions…..

There is so much that many times you don’t know where to spend more time researching or reading than in another. Sometimes in official pages or books you find a lot of information. other times you find more information in a comment! of a post of some unknown that in entire pages of books and webs…

It’s difficult to move between link and link… you jump from one side to the other thinking… and who will be this person who says this… who is dedicated… ohh look has its own website we will look… and when you want to realize has spent an entire afternoon and you have not pointed anything … It’s frustrating because you always think that the answer may be somewhere else and not where you are.

But in the end you realize that… Of course you find useful information! but it is important to take notes of everything! at all times!

Real Time Art Manifiesto

THIN HAIKU NOT EPIC

This was the phrase I chose from the manifesto. When I read it, it reminded me of a friend who always spoke to me about these types of poems. And the point is, like allways in life… make things simple… or at least try to not complicate yourself too much if you dont know some task. I have created a BrindMap for that, to make more visual the concept or at least how I understand that.

+ info about Haiku Poems(Wikipedia)

Extra Reresearch Terms

The Triangle of Weirdness

It’s a term he mentions scott in his book Level Up. According to him, there are certain barriers that you can’t overcome when it comes to innovation. Within those 3 variables you can only use your creativity to create something different in one of the 3. You have to Choose. Word, Activites, Character.

Don’t do more than one of these things because you can alienate the public. A game about unicellular perriform monsters playing an asymmetrical strange linguistic sport of ambivalent rules in a volatile world of dreams and planets made up of delusions and cream… no!


The Elemental Tetrad -of Games

Aesthetics: This is usually put at the top of the chart because the aesthetics of the game are the most visible aspect. Aesthetics aren’t just the appearance of a game, but everything that appeals to the senses. How does it sound? If it’s a board game what does it feel like, or smell like? Make sure that when creating your aesthetics that they reinforce the other parts of the tetrad.

Story: This is the sequence of events that take place in your game. Who are the characters of your game and how do they interact with eachother? What is the plot to your game and does it contribute to the experience you are aiming to create? Does it reinforce your aesthetics?

Mechanics: This is the core of what makes a game. These are the rules of the game. Some examples of what constitutes mechanics are; Mario can jump, pressing B shoots, players cannot play more than one card a turn, if the soccer ball gets into the other team’s goal your team scores. Mechanics are what make a game interactive so think, “message through mechanic.” Make sure your mechanic isn’t offset by your story or art.

Technology: This is what makes the game work. What is the hardware, or what is your board game made out of? The technology of a game is the least visible part of the Tetrad and is at the bottom. This might not seem important to the aesthetics but the technology limits what is possible. Mario only looks the way that he does because of technological limitations. His mustache is used to define his face and nose. He wears a hat because there wasn’t enough room to animate his hair when he fell. And last he wears overalls so that it is clear that his arms move while running.


The fourth wall

“l” is an expression stemming from the world of theater. In most modern theater design, a room will consist of three physical walls, as well as a an imaginary fourth that serves to separate the world of the characters from that of the audience.

In fiction, “breaking the fourth wall” often means having a character become aware of their fictional nature. This can range from a character advising the player to “Press X” or “Press A” in a tutorial, (referring to a controller button that does not exist in the game) all the way to Psycho Mantis reading the player’s memory card and mentioning the other games they’ve been playing.

However, the most conventional violation of the fourth wall is when a character (or the game itself) openly acknowledges they are in a video game, or directly refers to the player.

Uncanny valley

Uncaved valley talks about the thresholds of perfection and the imperfect, the real and the abstract. Many times we invest a lot of energy in creating something perfect that our abilities do not even allow us and the result is the fatal…

Many times it is better to make a sketch relatively close to reality than to try to imitate it.

Our sense of aesthetics and visual perception becomes more tolerable, unconsciously, with imperfect things.
However, with perfect things, the smallest erroneous detail makes us see trash.

From left to right. Last point, Second Point.
3º Point.

References

https://www.cleverism.com/qualitative-and-quantitative-data-collection-methods/
http://eduardolm.com/originalidad-en-los-juegos
https://www.cia.edu/blog/2015/04/the-elemental-tetrad-of-games?sa=X&ved=2ahUKEwizh4mNiqzlAhUzpnEKHbnQBvsQ9QF6BAgKEAI
https://www.giantbomb.com/breaking-the-fourth-wall/3015-138/

DAWSON, D. (2019). INTRODUCTION TO RESEARCH METHODS 5TH EDITION. [Place of publication not identified]: LITTLE, BROWN.

Dolowitz, D., Buckler, S. and Sweeney, F. (2008). Researching online. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Guides.lib.vt.edu. (2019). Research Guides: Research Methods Guide: Research Design & Method. [online] Available at: https://guides.lib.vt.edu/researchmethods/design-method [Accessed 15 Oct. 2019].

porojmartinez. (2019). Tecnicas de Investigación. [online] Available at: https://porojmartinez.wordpress.com/2011/06/12/tecnicas-de-investigacion/ [Accessed 15 Oct. 2019].

Rock Paper Shotgun. (2019). The 23 best bite-size games for busy lives. [online] Available at: https://www.rockpapershotgun.com/2017/05/05/best-short-games/1/ [Accessed 15 Oct. 2019].

Sheffield, U. (2019). Mind Mapping – Everyday Skills – Study Skills – 301 – SSiD – The University of Sheffield. [online] Sheffield.ac.uk. Available at: https://www.sheffield.ac.uk/ssid/301/study-skills/everyday-skills/mind-mapping [Accessed 15 Oct. 2019].

Tale-of-tales.com. (2019). Tale of Tales – Realtime Art Manifesto. [online] Available at: http://www.tale-of-tales.com/tales/RAM.html [Accessed 15 Oct. 2019].

Tallerdeescritores.com. (2019). Ejemplos de haiku. [online] Available at: https://www.tallerdeescritores.com/ejemplos-de-haiku [Accessed 15 Oct. 2019].

porojmartinez. (2019). Tecnicas de Investigación. [online] Available at: https://porojmartinez.wordpress.com/2011/06/12/tecnicas-de-investigacion/ [Accessed 15 Oct. 2019].

Rock Paper Shotgun. (2019). The 23 best bite-size games for busy lives. [online] Available at: https://www.rockpapershotgun.com/2017/05/05/best-short-games/1/ [Accessed 15 Oct. 2019].

WorkShop 0008 – Sort Film Making

Pre-Producction

This week we have been working on a short film! Our teacher has given us several tips on how to develop our little project.

Idea

My partner Charlie had the idea, so it was not very difficult to develop the project, we were clear that we wanted and what we needed.

StoryBoard

I focused more on the kinds of shots we were going to need to get some rhythm into the story. In class, when we had all the shots, I commented that he might be breaking the laws of continuity by changing the direction the camera is pointing. And that could prove confusing for the viewer. But we decided to go ahead, because frankly, we liked the shots.

The actors were chosen by Charlie based on our characteristics. And after that we only needed one thing! The location!

Location

I decided on Brandon Hill Park. At first the team was thinking of doing it in the city hall area, but we thought it was a better idea to go to the park for several reasons. I like nature, we were going to have less problems with people because it is a quiet area and because the images we were going to record were probably going to be nicer.

Rec Time

Once we started recording, everything went more or less quickly and smoothly. The most difficult takes were the ones with the ticket and in which Sam and I looked at each other, because… we honestly couldn’t stand the laughter!

But we finally managed to do it without laughter or nonsense and it turned out great!

Harrison did a magnificent job of recording the scenes. And Eli who joined us on day two, carried out the data collection and information regarding the short film. The shots that were good, the bad… Which we were…

We finished relatively quickly and without complications. Personally I would have liked to get some extra shots of the environment, like animals and so on, but unfortunately there wasn’t much time.

Post-Production

After that we went to class for the next phase, Post-pro. I took over the assembly because we lacked time. But I took the opportunity to teach the rest of the students how to do everything and so I think almost everyone learned how the basics work with the video editing program.

Sound

Once the assembly was completed, we were missing the next part, and no less important! The sound! We thought about what sounds we were going to need for our project and we went straight to the street to record them all. Sounds like the steps, the ambient sound and some others. The sound of the TICKET! was the most difficult of all. We tried a lot of different places, but it was too noisy on the mobile phone. At the end I had an idea! Record it inside a box! I asked the kitchen to see if they had any… but unfortunately they didn’t. And suddenly I got the light! The garbage boxes! With a perfect hole to put your hand in with your cell phone!

This way we get a much better sound quality with no noise!

After finishing the sound collection play the post-production part of the sound with our software, for this we will need to work with different effects to “clean” our sound as much as possible:

  • Noise Doors
  • Equalizer
  • Compression

And after they are ready, export them to our premier project to have everything perfectly squared and assembled!

The most difficult part by far has been to match the recorded steps with the images. The assembly has been long but has been worthwhile. I have to say that The Irish Fiver has turned out quite well, for our purposes.

The short film outlines the concept of tension. The black and white could have been worked on more. I have to say that I am quite happy with the result of the assembly of the plans. In this project I have taken into account the principles of design. But the one I set my focus on most is the Rhythm.