Project 2 Design/Play/Disrupt (Task 1)

Task 1: Critical Perspectives and Contextual Research

Este proyecto ha sido para mi mas complicado de lo que esperaba, mucha informacion que buscar, muchas, webs, libros, opiniones….

Hay tanto que muchas veces en que lugar invertir mas tiempo informandote o leyendo que en otro. Algunas veces en paginas oficiales o en libros encuentras mucha informacion. otra veces encuentras mas informacion en un comentario! de un post de algun desconocio que en paginas enteras de libros y webs…

Es dificil moverse entre link y link.. vas saltando de un lado a otro pensando.. y quien sera esta persona que dice esto… a que se dedica… ohh mira tiene web propia vamos a mirar… y cuando te quieres dar cuenta ha pasado una tarde entera y no has apuntado nada… Es frustrante porque siempre piensas que la respuesta puede estar en otro sitio y no en el que estas.

Pero al final te das cuenta de que si encuentras informacion, pero que es importante ir tomando notas de todo!! en todo momento!

Real Time Art Manifiesto

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.

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

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


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