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Friday, May 27, 2011
Friday, May 13, 2011
Nindou
1) What is the player experience?
2) What is the nature of interaction within the world?
3) How do players communicate?
4) How do players socialize?
5) What happens if/when players logout or are dropped from the game?
6) What do you have to do within the game?
7) What do you think of the game?
8) take a screen capture of the game and post it here.
1) What is the player experience?
2) What is the nature of interaction within the world?
3) How do players communicate?
4) How do players socialize?
5) What happens if/when players logout or are dropped from the game?
6) What do you have to do within the game?
7) What do you think of the game?
8) take a screen capture of the game and post it here.
May 13th in class excersise
Imagine the game you developed for your item 2 submission was online in a massively multi-player mode.
Answer the following questions about the game from this perspective:
(one paragraph per question)
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?
In order to deal with new players we would make sure players are matched with players of similar abilities. This works best with our game since it is an action RPG and would have characters at different levels. Matching players abilities would provide fairness as well as create less frustration for players. This way, players have the oppurtunity to level up with without being constantly killed by stronger players.
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?
If a player chooses to leave mid-game, they other players will be notified by showing a message in the corner of the screen. Players will be affected differently depending on the goal of the game. If the game is team based then unfortunately the team that lost the player may be at a disadvantage. However, if it is a free for all or death match then the other players will not be affected by a player leaving.
3. What happens to the game’s score when a player vanishes? Is the game still fair?
The games score will only be affected in team based games when a player vanishes. Because scoring system cannot be changed to give the team with one less player more points, it will be unfair. That team will have to work harder to make up for the player that left.
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?
The player will gain no advantages for disconnecting themselves. While it would be a nice feature to have in the case that the player were accidentally disconnected, it is very likely that players will take advantage of the feature in order to gain points quickly and unjustly. There really is no way to make it fair for those who truly get disconnected accidentally since as with many online games, any way that can be used to get ahead will be exploited immediatly.
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?
A player will not be allowed to stall since they may do so to unfairly win the game. Each time their turn arrives they will be given a set time limit to decide what they want to do. This way they must continue otherwise risk losing their turn. If a player attempts to stall by letting the timer run out, the other player will be able to steal that players turn and then take two turns simultaneously. This way a player would be forced to take their turn otherwise risk losing.
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?
While a filter would be nice, it would be difficult to enforce. So instead you can simply choose to ignore the chat. A text chat will be available for those who do still feel the need to chat but that will be moderated and not allow any profane or derogatory language.
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"?
As there will be both team and death matches, collusion will be allowed. In the team games, players will likely want to collude to get more points. With the nature of death matches it is very unlikely players will collude since you never know if the player you are in collusion with will turn on you just for points.
Answer the following questions about the game from this perspective:
(one paragraph per question)
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?
In order to deal with new players we would make sure players are matched with players of similar abilities. This works best with our game since it is an action RPG and would have characters at different levels. Matching players abilities would provide fairness as well as create less frustration for players. This way, players have the oppurtunity to level up with without being constantly killed by stronger players.
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?
If a player chooses to leave mid-game, they other players will be notified by showing a message in the corner of the screen. Players will be affected differently depending on the goal of the game. If the game is team based then unfortunately the team that lost the player may be at a disadvantage. However, if it is a free for all or death match then the other players will not be affected by a player leaving.
3. What happens to the game’s score when a player vanishes? Is the game still fair?
The games score will only be affected in team based games when a player vanishes. Because scoring system cannot be changed to give the team with one less player more points, it will be unfair. That team will have to work harder to make up for the player that left.
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?
The player will gain no advantages for disconnecting themselves. While it would be a nice feature to have in the case that the player were accidentally disconnected, it is very likely that players will take advantage of the feature in order to gain points quickly and unjustly. There really is no way to make it fair for those who truly get disconnected accidentally since as with many online games, any way that can be used to get ahead will be exploited immediatly.
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?
A player will not be allowed to stall since they may do so to unfairly win the game. Each time their turn arrives they will be given a set time limit to decide what they want to do. This way they must continue otherwise risk losing their turn. If a player attempts to stall by letting the timer run out, the other player will be able to steal that players turn and then take two turns simultaneously. This way a player would be forced to take their turn otherwise risk losing.
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?
While a filter would be nice, it would be difficult to enforce. So instead you can simply choose to ignore the chat. A text chat will be available for those who do still feel the need to chat but that will be moderated and not allow any profane or derogatory language.
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"?
As there will be both team and death matches, collusion will be allowed. In the team games, players will likely want to collude to get more points. With the nature of death matches it is very unlikely players will collude since you never know if the player you are in collusion with will turn on you just for points.
Friday, May 6, 2011
Game Map Excersise - By Ariel Valencia and Jeffery Zamora
The war is split into 3 territories. The blue represents the the main hero's location and the yellow is a guest area that helps your village out to fight off the warriors from the red side. As more and more people enter your village your location will expand and more landmarks will be added which may contribute the characters in many ways. The mode of transportation is mainly walking around but it is possible to use the train to obtain more locations passing through the enemy territory without being noticed but confronting the enemy group head on could be dangerous. As long as your village begins to thrive and become stronger the enemies would be doing the same so it would be a game more of strategy and obtaining better materials to claim all of the land and make the world safer.
Cultural Issues Essay - Sexism and Video Games
The video game industry since it’s beginning has been largely male dominated. As a result, games are aimed at males who are anywhere from their early teens to their late 20's. This audience for which many games are made, favored games in which they can be someone who they can’t be in the real world. Games were made to allow them to rescue the damsel in distress, be a member of a gang, fight off aliens, go to war and even simulate flights. However this audience also allowed for sexism in games to arise, showing male dominance over women as well as objectifying women. With the assumption that sex sells and the fact that video games primary audience is male, games have become increasingly sexist, carrying many forms of sexism from the subtle to the blatant in games going as far back as Mario and as recent as Grand Theft Auto.
A classic example of male dominance and female frailty resides in games such Mario. The plot is simple; the protagonist (Mario) must rescue a princess (Princess Peach) from the antagonist (Bowser). This cliché and over done storyline is sexist, showing that women cannot fend for themselves and are delicate, frail and innocent creatures with no hope of saving themselves. While this is the same story concept that we are told as bedtimes stories when we are children, it gives young girls the idea that men are stronger and that they are weak and helpless, further instilling sexism to younger generations. Not every woman is incapable of saving herself. This shows that men believe they are more powerful than women and are the only ones capable of going on an adventure and rescuing someone.
Another way in which women are objectified in games is by typically being weaker playable characters. For example, in Dynasty Warriors 5, while there are female characters they are not as powerful as the male characters. Male characters have stronger attacks and better weapons. In the Final Fight Series, female characters may have been faster than the male characters but were still much weaker in comparison. This further supports this idea that some men have of women being weaker than they are. This means that when women, given the option to play a female or male, will typically choose the male character. The same goes for men. Leaving this ideal for both men and women that female characters are weak and that it is always better to choose a male.
Male dominance is not the only form of sexism in video games. Objectification of women, as well as the treatment of women as merely objects, can be seen in many games. One particular example that has been in recent debate is the Grand Theft Auto series. In this game you are allowed to do anything you want such as steal a car, kill innocent people and exploit women for sex. Many of the women are also scantily dressed and there are even strip clubs in the game you can visit. This gives the idea that women are merely sex objects there for men’s pleasure, demeaning women and treating them as if they are not even humans.
Tomb Raider, while having a female hero still shows signs of sexism. The original Lara Croft had large breasts, a tiny waist and slender hips and was usually wearing shorts, a cropped tank top, a backpack and thigh holsters. She was the ideal woman that any man would be happy to play. Not only was she tough and strong, she was also beautiful. This however shows that when men want a playable female character she must be strong and have the body similar to Jessica Rabbit, cartoony and disproportional. Also in later games, the designers even created breast movement, so not only does she have big breasts, but also now they even move as she moves. While this would seem to create more realism, is it really necessary? Why for instance, can she not be attractive but proportional? This however, in the most recent Tomb Raider to be released in 2011, has changed so that she is not as objectified, yet still beautiful.
These are not the only examples of sexism in video games and there are certainly more than the few described in this essay. Games need not objectify women to be fun or make female characters weak and helpless. If video games are to hope to gain a stronger female audience, designers must learn to create female characters that both men and women want to play.
A classic example of male dominance and female frailty resides in games such Mario. The plot is simple; the protagonist (Mario) must rescue a princess (Princess Peach) from the antagonist (Bowser). This cliché and over done storyline is sexist, showing that women cannot fend for themselves and are delicate, frail and innocent creatures with no hope of saving themselves. While this is the same story concept that we are told as bedtimes stories when we are children, it gives young girls the idea that men are stronger and that they are weak and helpless, further instilling sexism to younger generations. Not every woman is incapable of saving herself. This shows that men believe they are more powerful than women and are the only ones capable of going on an adventure and rescuing someone.
Another way in which women are objectified in games is by typically being weaker playable characters. For example, in Dynasty Warriors 5, while there are female characters they are not as powerful as the male characters. Male characters have stronger attacks and better weapons. In the Final Fight Series, female characters may have been faster than the male characters but were still much weaker in comparison. This further supports this idea that some men have of women being weaker than they are. This means that when women, given the option to play a female or male, will typically choose the male character. The same goes for men. Leaving this ideal for both men and women that female characters are weak and that it is always better to choose a male.
Male dominance is not the only form of sexism in video games. Objectification of women, as well as the treatment of women as merely objects, can be seen in many games. One particular example that has been in recent debate is the Grand Theft Auto series. In this game you are allowed to do anything you want such as steal a car, kill innocent people and exploit women for sex. Many of the women are also scantily dressed and there are even strip clubs in the game you can visit. This gives the idea that women are merely sex objects there for men’s pleasure, demeaning women and treating them as if they are not even humans.
Tomb Raider, while having a female hero still shows signs of sexism. The original Lara Croft had large breasts, a tiny waist and slender hips and was usually wearing shorts, a cropped tank top, a backpack and thigh holsters. She was the ideal woman that any man would be happy to play. Not only was she tough and strong, she was also beautiful. This however shows that when men want a playable female character she must be strong and have the body similar to Jessica Rabbit, cartoony and disproportional. Also in later games, the designers even created breast movement, so not only does she have big breasts, but also now they even move as she moves. While this would seem to create more realism, is it really necessary? Why for instance, can she not be attractive but proportional? This however, in the most recent Tomb Raider to be released in 2011, has changed so that she is not as objectified, yet still beautiful.
These are not the only examples of sexism in video games and there are certainly more than the few described in this essay. Games need not objectify women to be fun or make female characters weak and helpless. If video games are to hope to gain a stronger female audience, designers must learn to create female characters that both men and women want to play.
Friday, April 22, 2011
Chapter 10 Design Exercises and Questions
Design Practice EXERCISES
CHOOSE ONE OF THE FOLLOWING EXERCISES BASED ON CHAPTER 10 of ERNEST ADAMS.
READ THE CHAPTER AND DO ONE OF THE FOLLOWING: Due 4/29
1. Devise and document the core mechanics for a traditional analog alarm clock.
The alarm clock possesses the following indicators: an hour hand, a minute hand, a
hand indicating the time at which the alarm should go off, and a buzzer. It also has
the following input devices: a knob to set the time, a knob to set the time at which
the alarm will go off, and a two-state switch that arms the alarm when the switch
is in one position and cancels it in the other. (Assume that it is an electric clock
and does not need to be wound.) Explain what entities are needed inside the clock,
what processes operate within it, and what conditions and mechanics govern the
functioning of the alarm. (Explain the movement of the hands in terms of the passage of time not the workings of the clock.)
2. Research the history and rules of Tetris, then perform the following exercises:
a. Devise an entity that contains enough attributes to describe the tetromino (a
Tetris block) that is currently under the player’s control. Name each attribute in
the entity; state whether it is symbolic or numeric; and if symbolic, list its possible values.
Your entity should include one cosmetic attribute.
b. Document the effect of each of the player actions allowed in Tetris on the
attributes of the currently falling tetromino. Bear in mind that some actions
have different effects depending on which tetromino is currently falling. Where
this is the case, be sure to document the effects of the action on each different
type of tetromino.
c. Document one of the scoring systems for Tetris (there are several; you may
choose one), indicating what condition of the play fi eld causes the score numeric
entity to change and by how much. Your mechanic for changing the score
should include as a factor the current game level (another numeric entity). Also
document what makes the current game-level entity change.
3. Using a real-time strategy game or construction and management simulation of
your choice (or one that your instructor assigns), write a short paper describing its
resources, sources, drains, converters, production mechanisms that are not sources
(if any), and traders (if any). Note whether the game has any feedback loops or
mutual dependencies; if so, indicate whether any mechanism exists to break a possible deadlock.
4. Define a mechanic for a trap that harms a character when it detects the character’s
presence and then must wait for a period before it can detect another
character. Document the condition that triggers the trap (the nature of the sensing
mechanism), the character attribute(s) that change when the trap is triggered, and
the length of the reset wait period. Incorporate one or more nonuniform random
numbers to determine the amount of damage done and explain how they are computed.
Indicate what states the trap may be in and what causes it to change from state to state.
Include a vulnerability in the sensing mechanism that could either
(a) set off the trap without harming a character or (b) allow a character to move
within range of the trap’s sensor mechanism without setting it off. (For example, a
pressure-sensor in the fl oor would not go off if the character weighed less than a
certain amount.) Propose a means by which a clever player could exploit this vulnerability to avoid the trap.
Design Practice QUESTIONS
1. What entities and resources will be in the game? Which resources are made up
of individual entities (such as a resource of airplanes consisting of individual planes
that the computer can track separately) and which are described by mass nouns
(such as water, which cannot be separated into discrete objects)?
2. What unique entities will be in the game?
3. Which entities will actually include other entities as part of their defi nition?
(Remember that an avatar may have an inventory, and an inventory contains
objects.)
4. What attributes describe each of the entities that you have identifi ed? Which
attributes are numeric and which are symbolic?
5. Which entities and resources will be tangible, and which will be intangible?
Will any of them change from one state to another, like the resources in Age of
Empires?
6. What mechanics govern the relationships among the entities? Remember that
any symbolic entity requires mechanics that determine how it can get into each of
its possible states and how other entities interact with each possible state.
7. Are there any global mechanics in the game? What mechanic governs the way
the game changes from mode to mode?
8. For each entity and resource, does it come into the game world at a source, or
does it start off in a game world that does not provide a source for additional entities or resources? If it does come in at a source, what mechanics control the
production rate of the source?
9. For each entity and resource, does it go out of the game world at a drain, or does
it all remain in the game world and never leave? If it does go out at a drain, what
conditions cause it to drain?
10. What conversion processes exist in your world? What trader processes exist? Do
any feedback loops or mutual dependencies exist? What means have you provided
to break or prevent deadlocks?
11. Can your game get into a state of equilibrium, static or dynamic? Does it include
any form of decay or entropy that prevents states of equilibrium from forming?
12. How do mechanics create active challenges? Do you need to establish any
mechanics to detect if a challenge has been surmounted?
13. How do mechanics implement actions? For each action that may arrive from the
user interface, how do the core mechanics react?
14. For autonomous entities such as nonplayer characters, what mechanics control
their behavior? What mechanics defi ne their AI?
CHOOSE ONE OF THE FOLLOWING EXERCISES BASED ON CHAPTER 10 of ERNEST ADAMS.
READ THE CHAPTER AND DO ONE OF THE FOLLOWING: Due 4/29
1. Devise and document the core mechanics for a traditional analog alarm clock.
The alarm clock possesses the following indicators: an hour hand, a minute hand, a
hand indicating the time at which the alarm should go off, and a buzzer. It also has
the following input devices: a knob to set the time, a knob to set the time at which
the alarm will go off, and a two-state switch that arms the alarm when the switch
is in one position and cancels it in the other. (Assume that it is an electric clock
and does not need to be wound.) Explain what entities are needed inside the clock,
what processes operate within it, and what conditions and mechanics govern the
functioning of the alarm. (Explain the movement of the hands in terms of the passage of time not the workings of the clock.)
2. Research the history and rules of Tetris, then perform the following exercises:
a. Devise an entity that contains enough attributes to describe the tetromino (a
Tetris block) that is currently under the player’s control. Name each attribute in
the entity; state whether it is symbolic or numeric; and if symbolic, list its possible values.
Your entity should include one cosmetic attribute.
b. Document the effect of each of the player actions allowed in Tetris on the
attributes of the currently falling tetromino. Bear in mind that some actions
have different effects depending on which tetromino is currently falling. Where
this is the case, be sure to document the effects of the action on each different
type of tetromino.
c. Document one of the scoring systems for Tetris (there are several; you may
choose one), indicating what condition of the play fi eld causes the score numeric
entity to change and by how much. Your mechanic for changing the score
should include as a factor the current game level (another numeric entity). Also
document what makes the current game-level entity change.
3. Using a real-time strategy game or construction and management simulation of
your choice (or one that your instructor assigns), write a short paper describing its
resources, sources, drains, converters, production mechanisms that are not sources
(if any), and traders (if any). Note whether the game has any feedback loops or
mutual dependencies; if so, indicate whether any mechanism exists to break a possible deadlock.
4. Define a mechanic for a trap that harms a character when it detects the character’s
presence and then must wait for a period before it can detect another
character. Document the condition that triggers the trap (the nature of the sensing
mechanism), the character attribute(s) that change when the trap is triggered, and
the length of the reset wait period. Incorporate one or more nonuniform random
numbers to determine the amount of damage done and explain how they are computed.
Indicate what states the trap may be in and what causes it to change from state to state.
Include a vulnerability in the sensing mechanism that could either
(a) set off the trap without harming a character or (b) allow a character to move
within range of the trap’s sensor mechanism without setting it off. (For example, a
pressure-sensor in the fl oor would not go off if the character weighed less than a
certain amount.) Propose a means by which a clever player could exploit this vulnerability to avoid the trap.
Design Practice QUESTIONS
1. What entities and resources will be in the game? Which resources are made up
of individual entities (such as a resource of airplanes consisting of individual planes
that the computer can track separately) and which are described by mass nouns
(such as water, which cannot be separated into discrete objects)?
2. What unique entities will be in the game?
3. Which entities will actually include other entities as part of their defi nition?
(Remember that an avatar may have an inventory, and an inventory contains
objects.)
4. What attributes describe each of the entities that you have identifi ed? Which
attributes are numeric and which are symbolic?
5. Which entities and resources will be tangible, and which will be intangible?
Will any of them change from one state to another, like the resources in Age of
Empires?
6. What mechanics govern the relationships among the entities? Remember that
any symbolic entity requires mechanics that determine how it can get into each of
its possible states and how other entities interact with each possible state.
7. Are there any global mechanics in the game? What mechanic governs the way
the game changes from mode to mode?
8. For each entity and resource, does it come into the game world at a source, or
does it start off in a game world that does not provide a source for additional entities or resources? If it does come in at a source, what mechanics control the
production rate of the source?
9. For each entity and resource, does it go out of the game world at a drain, or does
it all remain in the game world and never leave? If it does go out at a drain, what
conditions cause it to drain?
10. What conversion processes exist in your world? What trader processes exist? Do
any feedback loops or mutual dependencies exist? What means have you provided
to break or prevent deadlocks?
11. Can your game get into a state of equilibrium, static or dynamic? Does it include
any form of decay or entropy that prevents states of equilibrium from forming?
12. How do mechanics create active challenges? Do you need to establish any
mechanics to detect if a challenge has been surmounted?
13. How do mechanics implement actions? For each action that may arrive from the
user interface, how do the core mechanics react?
14. For autonomous entities such as nonplayer characters, what mechanics control
their behavior? What mechanics defi ne their AI?
1. "King of Kong: A Fistful of Quarters" in-class survey
Class,
As you watch the documentary, write comments about the film in the boxes provided based on the questions supplied for each. These will be used as the basis for a post-film class discussion.
As you watch the documentary, write comments about the film in the boxes provided based on the questions supplied for each. These will be used as the basis for a post-film class discussion.
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?
These values and attitudes and values are very typical among core gamers. If a game designer does not understand a core gamers need to achieve high scores, then a game will do poorly. A player must gain a sense of accomplishment of beating other core gamers scores in a certain game. This means a game must be both enjoyable and difficult,
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?
Weibe's aspect is very typical. Most (not all) core gamers fail to do well in activities such as sports or art, that many others can at least do somewhat
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?
I do not think it is valid at all. The reason being that depending on how the videotape is shot, you may not be able to see the player. If the player is not seen then how are we to know that he truly did it.
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 really enjoyed the film. I thought it was relatively accurate.
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?
I think organizations such as Twin Galaxies are very important.I believe similar communities would exist even without such organizations. Twin Galaxies was influential however in creating a need to keep scores.
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?
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?
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?
It was an interesting film and I believe that it can be applied to just about any game.
9. Have you ever played "Donkey Kong"? What was your memory of playing it? Where were you, when was it?
I would play it at the movie theaters with my dad.
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