So instead of a final exam, we now have to write a 3-page paper comparing the Maltese Falcon to a dark, 50s based video game that's due on the Wednesday following Spring Break. We're writing for the New York Review of Books, so we should cater our argument and writing style to fit that audience. We could also take a literary critics voice when we write the paper, or even a historian's tone (she directs this at me = brownie points). It should be very blog-like, personal, 1st person, with vernacular language. Basically, the bottom line is we can write however we want as long as we compare and contrast the movie with the video game experience.
1. Games can't do what films do as well.
2. Games are [not] in the same state as was film in the 40s. What state was film in the 40s? Was it still great art?
3. Like film, games were not taken seriously as art when in fact they are meant to be art
4. The reason that The Maltese Falcon is so much better than Bioshock is because of its narrative or because of its narrative structure.
Laura just mistook the wall for a blackboard. Stay tuned for a picture.
What Bissell says about Grand Theft Auto
He justifies playing the game, even though it's completely awful morally. Even though he was doing all these terrible things, he knew that the character was a bad guy, so he went along. He didn't care because they're bad people. He also talks a lot about cocaine. The cities are actually designed after real cities, and it's designed by people who aren't Americans, so it's kind of cool to see an outsider's perspective. You never really have to do the missions, and in some ways they kind of limit what you can do. A lot of people like to just run around and shoot people, performing drive-by shootings, robbing strangers on the street, stealing cars, and killing cops. He also took a lot of coke while playing the game, which makes a lot of people disrespect him a lot more. Maybe he just has an addictive personality. By the 4th game, he was able to have sympathy towards the character, which made him feel bad if he got in trouble. He was playing the game vicariously.
Haha Laura just made me take a picture of her posing in front of the spot she accidentally drew on the wall. I cannot wait until I have cell reception so that I can post this...
We spent the rest of the class discussing the various chapters of Bissell's book, but unfortunately I did not have my computer with me when we were discussing, so I don't really have much that I can say about it.
One thing I do remember, though, is Laura's story about trying to parasail for 3 days, when on the third day something just snapped and she was suddenly able to do it. Apparently it had something to do with the fact that sometimes you're not necessarily "learning" to play a video game, per se, and that motor skills develop on their own without conscious effort by the user.
Catharsis- You feel emotions very intensely while you're engaged in art if the art itself is one of high culture. This has a purging effect, allowing you to go out and live your life in a better way.
Vicarious- Similar to Catharsis, in that the consumer actually feels the pain, happiness, sadness, etc. of the characters depicted in a story, movie, video game, or even other people.
Wednesday, February 23, 2011
Monday, February 21, 2011
Monday, February 21st
Laura thinks that Bissell is a jerk, but he's concerned with narrative and how good it is in various mediums. He doesn't like gay marriages, but he doesn't offer suggestions as to how to make them "better."
Jonathan Blow, on page 92, says that any dumb ass can write a story for a game, and based on a lot of games that are out there, a lot of dumb asses do. However, narrative and story is just a small part of what is most important about the game: play. A lot of game designers are focuses so much on story that they substitute good game play for a good background story. Bissell argues that "game designers are focusing ont he wrong provider of meaning, and no one is challenging them to do otherwise.
Knights of the Old Republic and Mass Effect both have morality systems engrained into them, in that you have to pick between different moral dilemmas throughout the entirety of the game, and this is something that is a unique feature to these games that is not present in a lot of other games. These are games that you want to replay over and over again because the ending is different every time, just like poetry.
Sophistry- a way of arguing whatever you want to argue. A really complicated way of arguing that is self-focused and all-together wrong. I don't really understand the way Laura explained it, like what the hell does it actually mean? Now, sophisticated means fairly well-educated and high cultured. To me, sophistication means something that not a lot of people in popular American culture strive for, especially with the existence of Jersey Shore, Lady Gaga, and WWF wrestling (seriously, people still think that it's real?). I consider myself sophisticated though, because I take my education seriously and do everything that I can to convey a strong persona of respect and genuineness.
More explanation does not mean better narrative. Good stories know how much they can leave out and still get the story across. It takes a lot of artistry to hit that sweet spot where a lot is left out, but the consumer still feels smart for figuring it out. It's a matter of the contrast between gameplay and cut scenes.
Bioshock overview by Kevin:
This is the first time you meet Sander Coen.
Bioshock Notes:
Jonathan Blow, on page 92, says that any dumb ass can write a story for a game, and based on a lot of games that are out there, a lot of dumb asses do. However, narrative and story is just a small part of what is most important about the game: play. A lot of game designers are focuses so much on story that they substitute good game play for a good background story. Bissell argues that "game designers are focusing ont he wrong provider of meaning, and no one is challenging them to do otherwise.
Knights of the Old Republic and Mass Effect both have morality systems engrained into them, in that you have to pick between different moral dilemmas throughout the entirety of the game, and this is something that is a unique feature to these games that is not present in a lot of other games. These are games that you want to replay over and over again because the ending is different every time, just like poetry.
Sophistry- a way of arguing whatever you want to argue. A really complicated way of arguing that is self-focused and all-together wrong. I don't really understand the way Laura explained it, like what the hell does it actually mean? Now, sophisticated means fairly well-educated and high cultured. To me, sophistication means something that not a lot of people in popular American culture strive for, especially with the existence of Jersey Shore, Lady Gaga, and WWF wrestling (seriously, people still think that it's real?). I consider myself sophisticated though, because I take my education seriously and do everything that I can to convey a strong persona of respect and genuineness.
More explanation does not mean better narrative. Good stories know how much they can leave out and still get the story across. It takes a lot of artistry to hit that sweet spot where a lot is left out, but the consumer still feels smart for figuring it out. It's a matter of the contrast between gameplay and cut scenes.
Bioshock overview by Kevin:
This is the first time you meet Sander Coen.
Bioshock Notes:
Bioshock notes
· PC games at the point of dying before Bioshock came out
o Trailer came out and changed that
o Originally made for PC, then for Xbox, the PS3
· Story/gameplay
o Takes place in underwater city called rapture
o Builder of city doesn’t like rules or limitations
o Builds it underwater since that’s the only place he could do it
o Main character, Jack, crashes plane into ocean and is taken to what’s left of rapture
§ Riot broke out a year before and everything’s different
o Little sisters are protected by big daddies and have an adam that give you more power
§ Two options with little sisters
· Harvest
o Take out the slug in the little sister and use it for power or adam
o Also means to kill
o Slug means atom
· Rescue
o Breaks them out of their spell and they turn back into normal little girls
o Get a little bit of adam, but get perks later if you save enough of them
o Objective is to get out, and you use the little sisters to gain power to do so
o Meet Sander Coen, who sends spider splicers to test you, then invites you in when you kill them
§ Turns out to be really crazy
§ The artist of rapture who made all the plays and stuff
§ Madness grew slowly but surely after the fall of rapture
o Tenanbaum made the little sisters and gives Jack the power to rescue and save them after realizing her mistake
· Background
o Around 1953, scientists made adam which gave people extraordinary powers
o Made available to everyone in Rapture
o Became like a drug
§ Hallucinations
§ The more you have the more you can do
§ Blood craze focused around Andrew Ryan and Frank Fontane
· Ryan
o Made the city
o Started Ryan Industries which made all the adams
· Fontane
o Helped the poor people of Rapture rise up
§ Underground war between the two
§ Fontane dies, and Ryan takes control of Fontane’s company
o Protect the little sisters at all costs
o “A man chooses, a slave obeys”
§ Jack is really a slave of Ryan who is activated by the phrase “would you kindly”
§ Ryan says that he started a self destruction sequence, but by the time you get to him, he explains that you were built in Rapture, are actually 3 though you look like you’re 30, and that you’ve been commanded to do anything based on the phrase would you kindly
§ Ryan makes you kill him
§ Find pictures of everyone, including you, and others that have been brainwashed
§ Frank Fontane is really Atlas, who has been commanding Jack the whole time to get Rapture under his own control
§ Fontane says the word that kills you, but you find a cure for it
o Ending
§ Good
· Save all the little sisters and they all grow up, get married, with families
· Jack dies old with all of them around him
§ Bad
· Jack takes control of Rapture for himself
· Destroys the submarine the brings people in and out
o Uniqueness
§ Mix narrative and gaming
§ Don’t know anything until you experience it
§ Meet people and listen to/watch tapes to explain the back story
o Sequel
§ Try to explain why you’re back in Rapture
§ Sophia Lamb is the new narrator, takes over the city once Ryan is gone
§ Takes place 10 years after first one
§ Play as a Big Daddy
§ Made it so you can duel wield the gun and the plasma
§ New brute splicers to fight
§ Have to protect little sisters, but Sophia sends her big daddies to fight you, and the big sister
· We’re all family
· A cult that she starts and that you try to take care of
o April Lamb is the key to everything
o Try to save her the whole time
o Everything’s based on her
o Infinite
§ Took the game from being a series to being a franchise
§ Takes place in colonized city in the sky called Columbia
§ Takes place before original Bioshock
§ Try to save Elizabeth, the star of Infinite
§ Find out about corruption that occurs
§ Comes out in 2012:
Wednesday, February 16, 2011
Wednesday, February 16th
We're starting off our class today with a discussion on Braid. It's a game in 4 dimensions: space, time, forward, backward. A game doesn't need to be difficult, it just has to be interesting. It has to convince the player that his actions matter. This was spoken by Jonathan Blow, the creator of Braid, in an interview that is referenced in Bissell's book. Laura says you want to rewind your actions to prevent the stalker, not be him. This is one of the most compelling arguments of Braid, that your actions have real moral consequences. Braid introduces doubt, ambiguity (multiple interpretations), uncertainty into the gameplay, making it a very unique gameplay experience. It puts the player into an animal reaction mode, which is beyond survival mode, in that it's what you feel after you survive. They're feelings that are beyond just basic instincts that include reflection and interpretation. These factors are all part of the contextual framework of Braid.
Laura asked us if we think that art is a necessary thing for humans to do, and I have to say that even though I didn't raise my hand, I think that art is absolutely imperative for humans to participate in. Yes, it is not something that is absolutely essential for one's physical welfare, but humans are unique because they are more than that. We have emotions, feelings, personalities, and mental behaviors that require attention and pampering in order to achieve happiness and overall satisfaction. Art is an means to an end in that regard (to me).
Why do cultural validity and respect persist in eluding the video game? In other words, why aren't video games taken seriously? This is a bigger question for gamers than game designers because they have to create these games as cultural texts that will be consumed by as many people as possible. They just want to make money, they aren't necessarily interested in making art. However, what if art and money start to come together? If the consumer wants it, then the only way to make money is to make a great work of art. This is why we are having this class, because Laura wants video games that are great art like the kinds that she grew up with.
Cade and I talked about the first chapter of Bissell's book, and I think that he brought up something that's really interesting. Fallout 3 is a game in which the narrative is everything, and Cade referenced page 13 on which Bissell says "video games favor a form of storytelling that is, in many ways, completely unprecedented." These games give us methods of talking to some of the greatest ancient writers and philosophers of all time, immersing the player into the story that has been famous and important for centuries.
I found this video of Tom Bissell talking about his book in a NYC coffee shop:
Anna just typed a run-on sentence. She didn't really appreciate it when I informed her about it, and I think she actually took it personally. O well...
"The game is not the experience. The game enables the experience, but it is not the experience." This is a really unique quote that really touches on the fact that two different people can experience the game completely differently from one another, though they're given the same exact game .
The story of Fallout 3 is concocted to carry the player through it. Is this the same in all games? I don't think so, I think that this is a sandbox game in which anything goes and there's really something for everyone in the game. However, other games absolutely require a strict storyline be followed in order for one to "beat" the game. Games like these include Halo and Mario Bros. On the other end of the extreme are games like The Sims and Second Life in which the creators literally create the world, and then give full control to both the structure and gameplay to the gamer himself. In the first category, the playground is built for the player, and the gameplay is defined by one's experiences with that playground; in the latter, the gamer builds the playground for himself, then acts as the creator in how that playground is experienced. Fallout 3 is a game that falls towards the middle of that spectrum.
Chick flicks suck. Laura says so herself. They make us focus on things we shouldn't be focusing on. The narrative makes her sick, and great art doesn't do that. How does one define which art is good and which is bad? What makes one piece of art better than the other? Seriously, I have no idea how the hell you would be able to make an absolute statement about something like this. I also feel like I'm talking about the same things in all my classes... Not complaining, just saying. Laura wants people to experience games like she experiences good art.
Shadow of the Colossus notes:
Laura asked us if we think that art is a necessary thing for humans to do, and I have to say that even though I didn't raise my hand, I think that art is absolutely imperative for humans to participate in. Yes, it is not something that is absolutely essential for one's physical welfare, but humans are unique because they are more than that. We have emotions, feelings, personalities, and mental behaviors that require attention and pampering in order to achieve happiness and overall satisfaction. Art is an means to an end in that regard (to me).
Why do cultural validity and respect persist in eluding the video game? In other words, why aren't video games taken seriously? This is a bigger question for gamers than game designers because they have to create these games as cultural texts that will be consumed by as many people as possible. They just want to make money, they aren't necessarily interested in making art. However, what if art and money start to come together? If the consumer wants it, then the only way to make money is to make a great work of art. This is why we are having this class, because Laura wants video games that are great art like the kinds that she grew up with.
Cade and I talked about the first chapter of Bissell's book, and I think that he brought up something that's really interesting. Fallout 3 is a game in which the narrative is everything, and Cade referenced page 13 on which Bissell says "video games favor a form of storytelling that is, in many ways, completely unprecedented." These games give us methods of talking to some of the greatest ancient writers and philosophers of all time, immersing the player into the story that has been famous and important for centuries.
I found this video of Tom Bissell talking about his book in a NYC coffee shop:
Anna just typed a run-on sentence. She didn't really appreciate it when I informed her about it, and I think she actually took it personally. O well...
"The game is not the experience. The game enables the experience, but it is not the experience." This is a really unique quote that really touches on the fact that two different people can experience the game completely differently from one another, though they're given the same exact game .
The story of Fallout 3 is concocted to carry the player through it. Is this the same in all games? I don't think so, I think that this is a sandbox game in which anything goes and there's really something for everyone in the game. However, other games absolutely require a strict storyline be followed in order for one to "beat" the game. Games like these include Halo and Mario Bros. On the other end of the extreme are games like The Sims and Second Life in which the creators literally create the world, and then give full control to both the structure and gameplay to the gamer himself. In the first category, the playground is built for the player, and the gameplay is defined by one's experiences with that playground; in the latter, the gamer builds the playground for himself, then acts as the creator in how that playground is experienced. Fallout 3 is a game that falls towards the middle of that spectrum.
Chick flicks suck. Laura says so herself. They make us focus on things we shouldn't be focusing on. The narrative makes her sick, and great art doesn't do that. How does one define which art is good and which is bad? What makes one piece of art better than the other? Seriously, I have no idea how the hell you would be able to make an absolute statement about something like this. I also feel like I'm talking about the same things in all my classes... Not complaining, just saying. Laura wants people to experience games like she experiences good art.
Shadow of the Colossus notes:
· o Whole game constructed around boss fights
o One of the major games used in the argument that games are art
o Not much story given, but you get really close to the character
o 5 main characters
§ Wander
· Main character
§ Dead girl
§ Evil Demon
§ Agro
· Horse
§ Lord Demon
· Back story
o Story
§ Going to a land to resurrect dead girl
§ Must defeat 16 Colossi
§ Uses a sword to do this
o Created as a spiritual successor to another game from PS1
o It’s a huge world in which the only living things are Wander and the 16 Colossi
Monday, February 14, 2011
Monday, February 14th
Gamers are important to society because they already have a head start in terms of using this technology that is one day going to see that everything is digitized: entire libraries, social lives, etc. There is a huge opportunity for us to get people really involved in this process; this is the cultural challenge and key characteristic of my generation. This is the chance for us to really rise up and participate to our fullest potential in a movement that is going to shape how this period in history will one day be looked back upon.
I might be getting ahead of myself, but it's still pretty fun to think about. Once the whole library is digitized, it makes it accessible to anyone with an Internet connection, but it would also be incredibly difficult to find anything searching with keywords if the original print is hard for the software to pick up on. We've developed correction tools that allows people to go through and manually correct mistakes that the software made in the original transcription.
The Google Book Ngram Viewer allows the user to search for key words and see how much they show up in literature from certain time periods. However, before type was modernized in 1820, "s's" were substituted for "f's," so you really have to take that into account when searching words like "presumption" and "curiosity."
Can literature and other forms of high culture be as addicting as video games? Absolutely. One example that I immediately thought of is the fact that my little brother, Robby, loves science fiction novels. He literally cannot get enough. He would even brink his books into church and restaurants with him. I used to be like that, too, but alas I am not anymore.
High art can be seen as a relief from shoe shopping and online catalogue browsing. We spend so much time with these other forms of media that require so much attention and perspective that it's nice to sometimes unwind and find relaxation in the classics and art.
Discussion of the Halo chapter:
What's the difference between absorption and emersion in video games and literature? To me, I feel like going through chapters is like going through levels in a video game. In other words, both mediums have the notion that there is an ending and that there is a feeling of moving through a storyline. The user of both mediums connects him/herself with the main character, and goes through the story from his/her perspective. However, is it possible to not let yourself get completely immersed in the activity of reading or of playing video games? I think so, I've done it my whole life. Life is about making choices like that and practicing self control.
In literature, a story is considered good if it exceeds expectations the user has of the ending before he actually finds out what happens. In other words, if you expect one thing to happen in a story, and something completely different and unexpected happens, then the story is good and worth while.
According to Jones, "The meaning of Halo lies in the complex picture of the range of possibilities represented across the whole spectrum of possible engagements by players."So you can just use it as a FPS, turn it off, walk away. You could also write an entire book about it, get involved in the trans-media stuff, and become a fanatic. It's all about how the individual player experiences or wants to experience the game.
Braid Presentation:
I might be getting ahead of myself, but it's still pretty fun to think about. Once the whole library is digitized, it makes it accessible to anyone with an Internet connection, but it would also be incredibly difficult to find anything searching with keywords if the original print is hard for the software to pick up on. We've developed correction tools that allows people to go through and manually correct mistakes that the software made in the original transcription.
The Google Book Ngram Viewer allows the user to search for key words and see how much they show up in literature from certain time periods. However, before type was modernized in 1820, "s's" were substituted for "f's," so you really have to take that into account when searching words like "presumption" and "curiosity."
Can literature and other forms of high culture be as addicting as video games? Absolutely. One example that I immediately thought of is the fact that my little brother, Robby, loves science fiction novels. He literally cannot get enough. He would even brink his books into church and restaurants with him. I used to be like that, too, but alas I am not anymore.
High art can be seen as a relief from shoe shopping and online catalogue browsing. We spend so much time with these other forms of media that require so much attention and perspective that it's nice to sometimes unwind and find relaxation in the classics and art.
Discussion of the Halo chapter:
What's the difference between absorption and emersion in video games and literature? To me, I feel like going through chapters is like going through levels in a video game. In other words, both mediums have the notion that there is an ending and that there is a feeling of moving through a storyline. The user of both mediums connects him/herself with the main character, and goes through the story from his/her perspective. However, is it possible to not let yourself get completely immersed in the activity of reading or of playing video games? I think so, I've done it my whole life. Life is about making choices like that and practicing self control.
In literature, a story is considered good if it exceeds expectations the user has of the ending before he actually finds out what happens. In other words, if you expect one thing to happen in a story, and something completely different and unexpected happens, then the story is good and worth while.
According to Jones, "The meaning of Halo lies in the complex picture of the range of possibilities represented across the whole spectrum of possible engagements by players."So you can just use it as a FPS, turn it off, walk away. You could also write an entire book about it, get involved in the trans-media stuff, and become a fanatic. It's all about how the individual player experiences or wants to experience the game.
Braid Presentation:
· Developed by Jonathan Blow
o Took him 3 years
o Financed it by himself
· What is it?
o Side scrolling platform
o Time elements
o Uses the time element well within the game play itself
· Story
o Play as Tim to save the princess
o Has the ability to manipulate time to get through the levels
o Trying to correct a big mistake in your life that you don’t find out about until the end
o Game is ambiguous in nature, which adds to the storyline
· Levels
o 1
§ Level during which player makes mistake, but don’t learn about mistake until the end.
§ The final stage of the game
§ Start playing on level 2
o 2
§ Time and Forgiveness
§ The first level that teaches the player to rewind time
o 3
§ Time and Mystery
§ Focuses on the player, objects, enemies being unaffected by time
o 4
§ Time and Place
§ 2D plane the plane of time as well
o 5
§ Time and Decision
§ Uses an alternate shadow figure based on actions
o 6
§ Hesitance
§ Uses a ring that creates a time warp that slows object that get close to the ring
· Meanings
o Most people think the princess represents an atom bomb
§ “Now we are all sons of bitches”
Wednesday, February 9, 2011
Wednesday, February 9th
Today we started by discussing the differences between different mediums of media. Novels always have problems that need to be resolved, and the author often uses foreshadowing to hint to the reader what's going to happen later on in the story. Essays are different because they have a specific argument and the intention of the author isn't hidden from the audience.
We're supposed to blog about what we thought about the second chapter of Jones' book on Katamari Damacy. His main point is the fact that it's a game that's completely centered around collecting things within the contextual framework of the game itself. The other main objective to the game is throwing a ball. It's a great example of a game that doesn't need a storyline to be entertaining or "good." For the most part, the elements of the game are meaningless because the purpose of the game is very simplistic and easy. It's a parody of the kind of meaninglessness of eBay.
Halo Notes
HUD- Shows your vital information or life source in the game. Stands for Heads-up Display.
Newbie- Someone who is new at a game
n00b- Someone who uses the generic, most powerful item in the game or acts in a generally idiotic manner. Generally a derogatory term.
Assault Rifle A rifle commonly used throughout the Halo series of games that is used to attack or assault other members of the game, whether they be other users on XBox Live or computer simulated "enemies" programmed into the game itself.
n00b tube: A grenade launcher attachment that new users use because they lack skill. Pisses people off.
Camper A player who stays in one specific area, usually to prey on other players. Examples include: a sniper camping out on a ridge, or a player with a shotgun camping out right by a door in a room.
Presentation:
Here's a clip of some really cool Halo 3 kills:
Here's a clip from Halo Reach, one of the newest additions to the series, on Team Swat:
We're supposed to blog about what we thought about the second chapter of Jones' book on Katamari Damacy. His main point is the fact that it's a game that's completely centered around collecting things within the contextual framework of the game itself. The other main objective to the game is throwing a ball. It's a great example of a game that doesn't need a storyline to be entertaining or "good." For the most part, the elements of the game are meaningless because the purpose of the game is very simplistic and easy. It's a parody of the kind of meaninglessness of eBay.
Halo Notes
HUD- Shows your vital information or life source in the game. Stands for Heads-up Display.
Newbie- Someone who is new at a game
n00b- Someone who uses the generic, most powerful item in the game or acts in a generally idiotic manner. Generally a derogatory term.
Assault Rifle A rifle commonly used throughout the Halo series of games that is used to attack or assault other members of the game, whether they be other users on XBox Live or computer simulated "enemies" programmed into the game itself.
n00b tube: A grenade launcher attachment that new users use because they lack skill. Pisses people off.
Camper A player who stays in one specific area, usually to prey on other players. Examples include: a sniper camping out on a ridge, or a player with a shotgun camping out right by a door in a room.
Presentation:
- The Franchise Basics
- Released in 2001
- One of the best FPS games of all time
- The Story
- Set in the year 2552
- Humanity engaged in war with the Covenant since 2525
- Bigger and stronger than humans
- More advanced
- Space travel/warfare
- Want to exterminate humans
- SPARTAN program began before war
- Spartans are the elite soldiers who are trained from that ages of 6 or 7
- Trained in all military aspects
- Given suits of armor to protect their bodies
- Only a couple hundred of them
- As a player, you control the last one surviving
- Four groups
- Humans
- Covenant
- elites, grunts, brutes, hunters, jackals
- Forerunners
- Made worlds
- The Flood
- Killed Forerunners
- Parasitic life forms
- "Halo"
- 7 giant planet-sized rings
- Each trigger another until all 7 of them fire, killing all life in the galaxy
Here's a clip of some really cool Halo 3 kills:
Here's a clip from Halo Reach, one of the newest additions to the series, on Team Swat:
Monday, February 7, 2011
Monday, January 31st
Today in class, we kept working with EditiX 2010 to log and preserve comics. It's a really interesting program, utilizing HTML and XML to categorize and archive comic panels. I did mine on the most recent Zits comic, in which Hector gets a haircut and seems to be complimented by everyone they see while Jeremy is completely ignored. It was a simple comic to log, in that there wasn't any floating text or anything special, except that in the first panel there were three speakers who weren't actually shown in the panel itself. Everything else, though, was just dialogue between Jeremy and Hector. I'm really curious to see what this is going to look like in website form, which Dr. Mandell said she's going to make these into tonight.
Hold the phone, I might have done this all wrong...
Ok, so apparently, we don't need any speaker or caption tags, and the whole text balloon can fit under the following:
<balloon type= "speech" who= "character>
<p>Text spoken by character</p>
</balloon>
Variations arise when you get floating text, thought bubbles, narrative voices, or other text that the characters can also see, and the program is equipped to handle those as well. I'm about to show my code in front of the class. I hope that it's actually right, or else this could be very embarrassing...
I forgot to put spaces between the = and the " which apparently is wrong. Darnit...
Questions for Steve Jones:
1. Now that Lost has concluded, has your comparison of the series to the narrative structure of a video game changed at all? If so, how?
2. Do you still think that video games are "the dominant, paradigmatic form" in popular media culture today?
3. "The very idea of an island of penance for the dead, a purgatorial snow globe, is an error, an illusion." What do you think about this now?
Hold the phone, I might have done this all wrong...
Ok, so apparently, we don't need any speaker or caption tags, and the whole text balloon can fit under the following:
<balloon type= "speech" who= "character>
<p>Text spoken by character</p>
</balloon>
Variations arise when you get floating text, thought bubbles, narrative voices, or other text that the characters can also see, and the program is equipped to handle those as well. I'm about to show my code in front of the class. I hope that it's actually right, or else this could be very embarrassing...
I forgot to put spaces between the = and the " which apparently is wrong. Darnit...
Questions for Steve Jones:
1. Now that Lost has concluded, has your comparison of the series to the narrative structure of a video game changed at all? If so, how?
2. Do you still think that video games are "the dominant, paradigmatic form" in popular media culture today?
3. "The very idea of an island of penance for the dead, a purgatorial snow globe, is an error, an illusion." What do you think about this now?
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