This short essay was fun to write. I got to relive my younger life through the eyes of an older gamer. I experienced my early memories of success and hatred for different games. In the actual essay I focused on how my love for games is constant, but life gets in the way. When I was younger my insane amount of free time allowed me to play slower and more concise without a high understanding. Now, I use games as a leisure activity because the knowledge required to play them is not a lot for me, but is something easy to do everything.
Growing up in the early 2000s allowed me to experience the rise of modern gaming, as we currently know it. This unique opportunity builds upon the fact that at a young age, my only options from the toy store were board games, Legos, or action figures. Naturally, a child can only build many lego kits and imagine with so many figurines before they want to explore new trains of thought. This new outlet was playing against my parents in board games.
Board games were a quintessential part of my young life and early cognitive development. The earliest I can remember is with a classic for most children in my generation, which is Candyland. This sugar-coated game involved little strategy but a great number of counting skills. For me, it allowed for a great amount of fun when I could skip half of the game with the luck of the draw. Also, it balanced me out because whenever I landed on a licorice man square, I would be penalized for RNG sake.
Then I grew out of these “baby” games and played more advanced games that require strategy. My personal favorites, when I was younger, were Chess with my Dad and Scrabble with my Grandma. Both of these higher-skilled games boosted my abilities to be able to optimize choices to benefit me. This optimization came at a cost because these games allowed for a younger me to use copious amounts of time and energy because every move was a give it my all strategy. This led to a young me feeling drained after an hour-long Chess game or having to maximize points every turn in a game of Scrabble. Eventually, after years of practice, I moved to where I am currently.
Now, as an adult, I choose to favor games that are strictly played online. This is due to my friends and I attending schools that are so far away, but also due to their popularity in the gaming scene. Out of all of the online multiplayer games that are played on a global scale, my personal favorites have to be Counter-Strike Global Offensive and Rocket League. These games were built with an Esport in mind meaning that they are complex in two ways. They have a mechanical side along with game sense. These mechanics that I am referring to are the way that you move in a game. For Rocket League, you have to move your car on the ground as well as through the air. The game is designed for you to use a combination of buttons to lift and move how you need to. This combination and timing for button-pushing are difficult to achieve, and only a few out of the player base have mastered this skill. The other skill that I refer to is game sense. This is the intellectual basis for how to play the game. In Rocket League, the knowledge required to perform has mostly to do with how a player rotates through the field because, at its core, this is just soccer. As someone who has never played or watched actual soccer, learning this was a private dedication that allowed me to enjoy myself in a cut-throat online environment. Now, most games I play are here for me to relax from my real life. I can still learn from these games, but it is not as applicable as they once were to my younger self.
This essay allowed me to figure out what components were necessary to make such games carry out deep emotion. In games that I analyzed, Gris and Depression Quest allowed me to see failure through a new light. As instead of just playing these games, I analyzed them to understand their deeper meanings. The new structure of writing a comparative essay without an introduction was annoying for me because I still felt as though I wrote an introduction in my first paragraph. It was brief to help a classmate see my perspective on this, but felt necessary. It was difficult to make such a “slim” essay. What I mean by this is that I explain my points and conclude. For my first time, it felt like a literary version of a PowerPoint presentation. The claims that I used were more so dealing with how the player was supposed to play and what causes were to be found. This thought process taken by both games explains how we can heal ourselves while in tough times, emotionally.
Gris and Depression Quest vary in their portrayal of how one can recuperate from injury over the long run. Gris proposes that casualties can create a more grounded and stronger rendition of their past self while Depression Quest suggests that injury turns into an undaunted occupant in casualties’ brains. Initially, the medium through which each game is played speaks to the vicinity of injury to the person in question. Gris is adequately a platformer, similar to the first Mario or Donkey Kong games that highlight persistent development to one side or up. Despite the fact that there are a couple of circumstances where one should move somewhat in reverse, which can be contrasted with difficulties in the recuperation stage, the following stage is regularly at the right-most area. Moving constantly right, Gris goes through the phases of despondency and closures at acknowledgment, and in doing such, she builds up many apparatuses for pushing ahead. For instance, rushes of outrage, encapsulated by angry maroon breezes, can be met with versatility, as change into an inflexible square. Each stage carries new capacities to the characters, eventually expanding the distance among injury and the person in question while debilitating the impact of injury. The game even finishes with a lovely cutscene of a foul dim snake animal, overpowered by the light, filling the divided lady’s body and restoring the shading and succeeding to the game’s setting. This is met with a last tear from the revamped stone lady, proposing injury builds up an advantageous relationship with the person in question, filling in as a dismal token of both their passionate strength and enduring scars. In Depression Quest, the game’s consummation presents to you, the player, a little further on the way to recuperation. Sensations of pity, void, and defenselessness have not continued as before – snapshots of satisfaction have traveled every which way – however there has been no conclusive pattern towards the sensation of harmony present at Gris’ perfection. Moreover, while Gris adventures a feeling of association and control – players move left and right however they see fit the job that needs to be done, it turns out to be clear, finishes development to one side – Depression Quest makes no such concession. There are no gamely assignments, such as sorting out levels or taking a troublesome leap, leaving the player scrambling to fulfill their feeling of play and waywardly giving a valiant effort to have their game character comprehend discouragement and discover achievement. Here, the snare snaps shut, as the engineers constructed the game to maintain a strategic distance from any similarity to the application Episode or The Sims. An illustration of this lies in the annihilated choices: instead of simply eliminating ways the player can’t follow, the game keeps them in the blend however crosses them out, just facilitating one’s battle to prevail as every open door for development is met with inevitable relapse to the starting point, entirely all the way to the finish. While Gris permits you to wander out of the dull spot, Depression Quest keeps you endlessly at battle with its numerous heads, each game contributing an alternate image of the consequence of recuperation from injury.
Gris and Depression Quest offer comparable portrayals of the manner in which injury is befuddling. Despite the fact that Gris gives both a more hopeful and coordinated, story-like viewpoint of recuperation than Depression Quest, the two games speak to how recuperation from injury has much impasse. As it so happens in Gris’ down, the player is given minute guidelines from both an essential viewpoint and from an exacting one: the player basically isn’t given the console bearings for how to move. Testing plays into this, as the engineers cross classes here, infusing an open-world component into an essentially 2-dimensional game. Testing has various neurological advantages, yet the main advantage here is that it powers the player into the situation of tossing their hands noticeable all around and contemplating, in all probability in any event, considering surrendering. Thanks to examining, the game plan powers the player to look cautiously, acknowledge a specific level of dissatisfaction, and be prepared to come up short. These characteristics imitate the befuddling idea of horrible mishaps that frequently leave casualties uncertain of how to push ahead. Melancholy Quest, then again, has no open world components and gives not many occasions to examining (past the previously mentioned want to ‘dispense with’ despondency and be fruitful, which just can freely be classified under testing) since the game is played through the imageless vehicle of circumstances where one settles on decisions. All things being equal, Depression Quest utilizes the ineffective aftereffects of alternatives the player makes as a demonstration of the befuddling idea of discouragement. Initially, the decisions the player gets are frequently founded on eliminating oneself from a condition of moping rather than moving one into a condition of prospering. At the end of the day, the choices forestall torment as opposed to giving satisfaction, which puts a huge strain on the player’s fill-in objective of surpassing their psychological instability. Besides, the dim, soggy overhand that is wretchedness rapidly quenches any endeavors to discover some similarity to unwinding or achievement. You as the player need to succeed, however the current alternatives don’t take into consideration much upward portability, and when they do, the slight improvement is adequately discredited by an attack of decisions that take you back to the beginning stage. The final product of these two perspectives is that the game is equivalent amounts of confounding and disappointing, and keeping in mind that toward the beginning cynics may highlight the game structure itself and battle the story is fixed to paint an unreasonable picture of discouragement (the very unreasonable rationale that recommends those experiencing melancholy attempt to be upbeat), the dismal truth is that downturn works accurately in this style (however, note that downturn influences every individual in an unexpected way): the staggering feeling of injustice and disarray is certifiably not a game-driven component yet rather a genuine portrayal of sorrow. Despite the fact that Gris and Depression Quest vary from multiple points of view, the two of them furnish their players with an unfiltered articulation of how the way to recuperation from injury is overflowing with continuous mental fights that procure solid sensations of disarray and dissatisfaction.
Gris and Depression Quest at last propose that the way toward mending requires deliberately making a move. The two games show that recuperation from injury is befuddling and disappointing, however the basic contrast in the two games is that while Depression Quest offers a grim viewpoint for change, Gris proposes recuperation is a characteristic game-plan that, while testing, is a fundamental cycle for development. The character in Depression Quest endeavors to take on their psychological instability by settling on decisions, however there is a characteristic mistake. Despondency Quest exhibits that only creation decisions that appear to be correct isn’t sufficient to begin the recuperating cycle. Without effectively playing a part in one’s emotional well-being, injury is an unflinching part of their life, and the closeness of the injury to their every day schedule remains precisely the equivalent. While the facts confirm that both Gris and Depression Quest portray the way to recuperation as confounding and disappointing, Gris shows the significance of conclusive strides toward mending, which exhibits that with complete advances – in any event, when they are entirely off-base and cause the
character to relapse – one pushes ahead and can take on progressively troublesome difficulties. The main takeaway is that to recuperate from injury, one should be striking and conclusive, just as unafraid of judgment and disappointment, and with sufficient opportunity and practice committed to mending, one may not ‘beat’ injury into blankness, however they can make an adaptation of themselves that is sufficiently able to let it become a fortifying section of their character.
I am reviewing for a chemistry exam and I also just received an IPad for the holiday that I celebrate. By making these notes visualized, I was able to see the full breakdown of the bonds that were created in such a tricky molecule. These notes although time consuming may be useful in special cases with more visually taxing tasks.
Throughout this course my way of thinking was challenged. I was engaged by having to often reverse engineer assignments. This would entail me having an end goal and instead working towards it, often I would have the goal and work backwards or have to skip from topic to topic. The best example I could give from the semester was when we were assigned to make a video game on an application called Twine. Most people when they make a game just need a concept with a thought out story, but in my case I had to start further behind. These developers already have people that make their thoughts become reality. I needed to learn how to code the game in Twine before a story could flourish. Then, this concept of Storyboarding was completely foreign to me, but as you can see below I think I did alright.
“Intro story: Sam is a heart surgeon at the New York Presbyterian Lower Manhattan Hospital. He wakes up at his usual 9 AM time. Today, he will head straight to the hospital where he will perform an open heart operation.
Story 1) Sam takes the subway to get to work.
Option 1a: Sam stops by his favorite pizza joint on the way to work.
Option 1b: Sam gets a quick deli sandwich on the way to work..
Option 1c: Sam doesn’t eat anything because he wants to watch those carbs.”
Above, we can see that for a student that has no understanding of this software or even how to make a video game. I was able to produce something that may get enough playtime to put a smile on my face. This ability to not work from point a to point b, has allowed my writing process to become more efficient. The Twine game enhanced my ability to work in an organized, but more efficient manner. This is truly the skill that I appreciate most from this experience.
Heres a link to my reflection.
This essay shows my past experiences with the English language. Although, they may be limited to many in this world, I found it hard to get out these words. I find it difficult to reflect on challenges in my life due to my emotional side. To balance this out, I incorporated points of success that came from these low lows. In doing so, I allowed my emotions to reach a point of equilibrium. For those of you who don’t have time to read the original post, I want you to read this line.
“For many, expressing their ideas and findings in a neat poster may be simple and come as second nature, but for second grade me it was cruel.”
This singular line describes the pain and suffering of my past which many people I feel can relate to. This idea of dread and anguish over expressing what seems known to you is brutal for me. This brutally procrastination still lingers with me, but I still get the job done.
My Co-Producer Brady Dolan, says he didn’t do all that much, but I feel that he kind of carried hard on this podcast. He had such a great way of explaining the Journey game to me, so I wouldn’t feel left. Of course, I watched a let’s play, but it’s never quite the same as experiencing it for yourself. It was nice to have more insight before completing this final podcast. Having already completed the Portal podcast beforehand, this allowed me to breeze through the process as I had experience producing and editing the audio files and completing the transcript. I was proud of our group because we struggled the first time. Now, I can say that if needed in the future a podcast will be no big deal.
The primary goal of this episode was to produce something that allowed the audience to experience a game like Journey without having to play it through because if you don’t have the right frame of mind, most will get bored. We wanted to emphasize the process of walking by yourself throughout the barren wasteland and make spiritual references to. The game indirectly showed players how to find a spiritual sense of peace through a desert of nothing. Much like today we are all getting through this pandemic, but without a sense of trying to become more emotionally or spiritually stable then it will be difficult. This game gives some of the tools necessary to find inner peace even though most will blow this off and focus on the colors presented, the absence of sound is more important which is what we emphasized the most in portraying the spiritual journey.
This was my first time ever as a Co-producer on a podcast ever. Before this assignment, I didn’t even listen to podcasts, let alone make any. I had my eyes set on doing the Portal Series because it is such a classic Valve produced game. I thought that hundreds of thousands that have played through without knowing what the game did for them. In this episode, myself and Brady delved into the strong female movement that was started by the Portal series. We as players go through the game trying not to die, but in this episode Brady and myself talk about the benefits a player gains without them knowing. These are specifically the life and death situations that you are put in constantly. We wanted to emphasize the quick decision making skills that can be learned without having the player realise he or she is learning. This we found was an optimal way for people to gain knowledge because it does not feel forced upon, even though it is blatantly there with a closer glance at the game’s design. Most people in the world do not care that they are learning in this style, but now I think it could be an effective way to teach to people in this world that are more stubborn. I understand this thought is borderline “re-education camp”, but I was thinking more so for students who feel that the traditional classroom is not an effective tool for them. These new thoughts about the class only emerged during this reflection, what a shame. Overall the process for writing the script was enriching for me to learn a new skill, as I tend to shy away from these larger writing assignments if given the option. I had fun, but worked hard on something I am actually proud of besides the fact that I hate listening to my own voice.
For this assignment, I listed the four main parts of the class work that helped me progress throughout the semester. It can be easily seen through these four sections, which I see as the overall writing skills, the podcasts, non-linear comprehension, and the side quests. Side quest are daily work, they are interesting little activities, but they allow for constant stimulation during down time. Overall writing skills helped me to comprehensively reflect on my poor English skills and hone them. The podcasts helped me, by utilizing teamwork, communication, analysis, and video/audio production. Lastly the non linear comprehension of the assignments benefitted me to think outside of the box and put more effort into my work without the downside of an “impossible” assignment. These portions built the class to a point of stability and likeness to where I got through.