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There is a great, but easy to describe, difference between non-game stories and games, and utilizing that difference, I want to describe how the game is an interactive narrative. The major difference is he game is incomplete as far as narrative goes, and this is perhaps a key element to its interactivity. Novels, as an example of non-game stories, as Perlin gives example, are filled with ‘complete’ characters. We know a character’s history and learn of their experience by reading (or watching) media. However, game, is interactive media, provides an ‘incomplete’ character, as I believe Perlin’s article reflects, is less relatable than the novel character. This is also reflective of how the world is ‘distanced’ as Murray discusses. However, by interjecting the player’s personality into the game, or simply, by us playing the game, will try to fill the gap. I have played a variety of games, and as much as I enjoy the stories of them, I also know all the flaws of interactive narration they can present. In my experience, the plot is about 99 percent driven by the plot, or rather the mechanics of the game. This is really the lack of evolution, and it is found all too often in games, particularly in Role Playing Games. For example, the Hero of the game gets a quest:

Hero! Let’s go save the kitty from the tree!
Of course!
>It’ll be okay.

Say you can actually choose the second option. The game would next say:

Hero! That’s not nice. You should help!
Sure
>Maybe Later.

I’ve played a lot of games where you can get ‘caught’ on the second question, until you would say ‘sure’, the Hero saves the kitty.

I usually find the narration doesn’t necessary interact with the player, with say, the plot itself, but the unique aspects that the game can offer. When I play a game I look for three key things: A map. A compass. Key items. Now, someone of Legend of Zelda lore would say, well, that’s correct, but others would say no. Let me explain. A map is in every game. It is where you can go, what you can do. Do you start at level one? Do you start at your home? It might not be a literal map. A compass. Forget that actual compass that tells you where north is, because I am referring to controls. How do you control your character? Does ‘A’ make him jump? Can you go left and right? And Key Items. These are the unique items of the game. In Tetris its blocks, in Legend of Zelda you start with the sword and shield, in Second Life you have an infinite wardrobe. It is the key items (or magic items as Jenkins noted in Interactive Storytelling) that make the story interactive. After all, you can wander around all you like, but without something reacting to you or something to react with, you’re going to get bored of sightseeing after a while.

I found most interesting in Mateas’s article, the discussion of “agency”, which is “a balance between the material and formal constraints”. The want to interact with the narrative is how much agency is left in the game, or in short, what is the motivation to play? Agency is a curious thing in SL. I frequent “Help Island Public”, the location often visited by new players after they are done with their orientations. One of the first questions I often overhear is “what do I do now?”. The unique and mind-bloggling thing about SL is the self-created narrative, the self-created agency. Although this is freeing for the many people who have often been stuck saving kitties, they often don’t know what to do with themselves in the absence of tree-bound felines.

I like the overall idea of ludology; games can and should move away from their narrative ancestors. Eskelien argues how narrative is too simple to apply to games, how they are comprised of series and sequences which doesn’t necessary work with traditional narrative structure Also, one of the good points that Aarseth makes in his articles is that the rules found in video games are not intertextual. And, as I would wager, not usually found traditional narrative structure. After all, sitting in a chair, reading my favorite book, the character is going to do the work for me, all I’m required to do is flip a page. However, Aarseth notes that rules aren’t intertextual, and he makes examples of how certain Star Wars games wouldn’t help you play one another. I feel that is true, but that video games can be intertextual in their story structure. There are sequels to stories and there are video games made by the same producer that have intertextual elements. The Kingdom Hearts series by Square-Enix is an example of both these. The last thought on ludology I have is from Moulthrop. I find his article interesting, pointing out how the negatives of the real world can reflect in cyberspace. I believe because of this, games will continue to have some narrative structure, separating themselves from the real world on some level.

Build a Chair Assignment

Oh this was fun!

Freebie textures are easy to find, in my opinion. although finding the right script wasn't as easy. I already, technically used a script in the building of my chair (the circular design was script-assisted, although I could have done it by hand), but I wanted to how a noticable difference to my chair when it was used. So when I found the 'mediate' pose, I had to use it, it was too perfect! The only downside was the positioning of the script. The script caused my avatar to not sit on the car properly. Although I liked the floating aspect the script made, I assumed floating two feet away from the chair defeated the purpose of the chair, even in a virtual world.

Also, I wanted to challenge myself to make an unusual chair: I had to find the proper balance between the regular look of a chair and how creative I could take it. With the virtual world in mind, I could have an avatar sit on five multi-colored pixels if I wanted to, but I might have to tag it with the 'floating text' script: "sit here" if I would ever want anyone to utilize the object. So I had to still keep some realism there.


Overall, since I have taken quite a liking to building I found this assignment enjoyable, but not necessarily without a bit of challenge!

Here's a picture pre-'mediation' script:












This is the final look, with the 'mediation' script:

Response to Article (Unassigned Entry)

Unassigned entry: I felt I wanted to respond to the Second Life article Dr. Lucas told us about in class: I apologize for any 'rantiness'.


When reading the article that Dr. Lucas brought up the other night, I felt I understood the writer's message. What surprised me more, strangely, were the many negative responses. I am not surprised that there are negative responses, the internet clearly opens the door for them, but I was surprised that they were the majority! (Especially the ones that felt the article nonsense.)

I felt that even though this crime was indeed a 'virtual crime', and the writer felt more inclined to worry about the welfare of others (comforting her friend and children, and even writing the article), didn't lessen the value that this was indeed an act of violence.

And just because it does happen in SL, and doesn't do physical harm, it is still breaking the laws of the world! Just as it would be breaking the laws of the world we physically live in:

CONDUCT BY USERS OF SECOND LIFE

• 4.1 You agree to abide by certain rules of conduct, including the Community Standards and other rules prohibiting illegal and other practices that Linden Lab deems harmful.
• [...]
  
• (x) "stalk", abuse or attempt to abuse, or otherwise harass another user.

Just because a virtual crime is a lesser crime, doesn't make it justified. That's like if I were to shove you onto the ground (in malice, not in a heroic, getting out of the way of the speeding car action), and said, "well, at least I didn't stab you!" Just because I didn't draw blood I'm justified for the action that I've done?

Just because someone acts hatefully virtually doesn't justify that it isn't done physically.

I think there is a sense of urgency to the article that might be a little overdone. However, I also believe we all experience a 'deer in the headlights' moment in the virtual world, and we all have a sense of urgency to defend ourselves in light of that.

Also, even though on the screen there are pixels, there is an emotional force behind that. The person in control. The avatar is the portal, in and out of those emotions and actions and reactions. And the portal through which consequences travel. (Or at least, should.) Also, SL members do spend time, money, and their energy on their avatars. It makes sense that someone would care what happens to that. Especially since it is an extension of one's own identity while you're playing SL.


One last thought: Stormhold, Caledon is two sims over (quick flying distance) from a School, where newbies can take classes about SL and get free items.

Interview Assignment on Second Life

I bumped into Jo at an event in Etopia, a very nice eco-minded community in SL. Later she agreed to let me interview her. She has wearing a very nice, Halloween-themed avatar.


[9:46] You: I like your outfit; when you alter your appearance, what do you take into consideration? Why do you chose a certain look?
[9:47] Jojogirl Bailey: i want to look different than the other av's and i want to look beautiful
[9:48] You: Ah, well, you look very nice. =) I only have two more questions:
[9:48] Jojogirl Bailey: ty LOL
[9:48] Jojogirl Bailey: I've worked very hard on my avatar.
[9:48] You: Do you think you portray a role with your avatar? Does it help bring out some of your personality?
[9:49] Jojogirl Bailey: I have a couple of avs and each one is a part of me
[9:49] Jojogirl Bailey: but no matter what role I try to play
[9:49] Jojogirl Bailey: there is alot of me that comes out anyway
...
[[9:50] You: Thanks jo, I just have one last question: Do you have any tips on improving my avatar?
...
[9:51] Jojogirl Bailey: just me personally...I like to be taller and I like a more defined skin, but it depends on what you like and the look your are going for!
...
[9:51] You: thanks Jo. =)

Jo is a very nice hostess of Etopia (not officially, I think, but if she's around, she'll have a warm welcome for you!), and her nice fun outfit I think also reflects a welcoming personality. I'm rather new with Etopia, but I do recommend it highly.


(Pre-interview picture) I did adjust the height on my avatar after this. I don't really like darker skin on my avatar, however. (I think it looks much better on Jo anyway!)


Before when I created outfits for my avatar, I usually just tried to make something that would look cohesive in the real world for the event I was going to on Second Life. As time went on, I felt more comfortable with the functions and I started experimenting to get a more fantasy-like avatar. Also, learning about textures, and building accessory items (the staff and the skirt item are both items that are built and cannot be done within the parameters of "appearance" as far as I know). Although I cannot completely change myself from head to toe yet, I still feel I need an item or two that I could not create at the time I took the snapshot, I feel I am still making my own avatar, and not completely relying on just a re-built outfit. Or I can put together items from my inventory to make an outfit, still. Yet, I'm coming to the middle of being a fan of fantasy (mainly from animation and video games) and also wanting to build such items. So perhaps my role is fantasy item builder?

Overall, to me, my avatar is important because I always want the correct impression. That even takes priority over a 'good' or 'nice' impression. Also, I'm not the silent protagonist. The first impression might be sight-based, but I want what I look like to go with what I 'sound' like as well. I know as I learn more about Second Life, I will adapt my avatar more and more to show an accurate, but reserved, reflection of myself.

Digital Story through the mind of a of 'gamer.'

I would never think of a digital story and a video game in the same light. The prior is always more personal. However, as with any interaction with narrative, they have their similarities. When looking at the “Merging Stories and Games” section of Glassner’s text, the similarities naturally came to light. Naturally a ‘gamer’ would know the positives and negatives of games and each game they play. I was just a little dishearted when, Glassner puts such a negative spin on some of the parts of video games. For example, ‘Deception. (264)’ I haven’t yet played a Role-Playing Game yet that doesn’t throw you into and unexpected battle. What’s the fun if you aren’t always on your toes? As an author writing their next (hopeful) page-turning novel to keep their audience glued, wouldn’t a video game creator create their story to keep their players playing, anticipating the next step of the game?

Once you are ‘done’ with a video game, you have not just played the story. You have earned the story, (and yes in a very small way, ‘lived it’). A digital story is a hunt in the real world. Something you probably have lived, something you might have ‘played’ and, I believe frequently, can fall under the guidelines of something 'earned.’ You might not have to find the ‘blue key’ and the ‘sword of power’ but you do have to find the ‘key pictures’ and or video to go into your slideshow, correct? After all, in a video game I’ve had my fair share of using the ‘camera’ to look around and explore my surroundings. Such a task is not to go to waste here in reality. (Although you can take snapshots on Second Life and I’ve seen those posted on flickr).

I was considering taking some nice nature pictures and a music video. However, not getting into too much detail, but the first color picture in my film is the one that help me finally settle on my idea. That little bit of red popped out at me while I was finishing my walk around campus.

I had the unusual and pleasant experience of having my digital story come together all on the same day. Although my pictures were taken and my movie was complied on the single, same day, it was not a one-day process. I agonized over my ideas from the assigned date to when finally, I heard an announcement on TV that started the wheels turning. I actually didn’t get shooting until the day after that, so I actually got the more intriguing title “The Second Day.”

I've had the benefit of taking prior film classes before this one (most CIT students take the film classes during and/or after this, as I’ve discovered) and so I’m already familiar with iMovie and iLife. However this was the first time I have exclusively timed to just music, which I had a fun time with. I do think this was more of an interpretive digital story rather than just a music video, I was hoping to at least bridge the gap if not go further than that. It was nice not having a narrative, just for a change, since I removed a lot of the barriers that language creates, that Glassner discusses toward the end of chapter 11. Although I feel I left a lot open to interpretation, I don’t think it is hard to get something from the video. My only concerns were: that it was on the tame side and the music was a touch opera-like at the end. Still, I felt better going with this song than original or open-source because I felt that a song wouldn’t let me down.

Perhaps I didn’t learn a great deal from this digital story project. I would like to think that I re-learned a lot. The most important is that you have to just go out and do something, and leave the fear behind that you’ll do something bad. Good things come to those that DON’T wait.

Interactive Storytelling, meet interactive protagonist. (Favorite Narrative Assignment)

Ferris Bueller’s Day Off, Burn Notice, The Hitchhiker’s Guide to the Galaxy (film version), Stranger than Fiction; when the word ‘narrative’ is mentioned the first thing that came to mind was the unusual styles that are in these movies and television show. Each story has its narrator speaking to us from beyond the fourth wall, whispering humorous little secrets. What sets Stranger than Fiction apart from the first three directly satirical narrators, is more visual play with irony.

On the surface, Harold Crick (played by Will Ferrell) wouldn’t appear to have a “Man Versus Nature” plot dilemma, as Andrew Glassner discusses in Interactive Storytelling (74). However, the description “the hero struggles against the impartial forces of the universe” (Glassner 74) seems to fit Harold’s situation once he overhears the narration foretell, “Little did he know that this simple seemingly innocuous act would result in his imminent death.” This very snippet of dialogue sends Harold into action, trying to not only solve the mystery of the narrative voice, but getting to that voice in order to resolve the movie’s conflict. Although that is the movie’s plot in a nutshell, the conflicts in the movie could also be defined under “Man Versus Man” and “Man Versus Self.” (Glassner 74) In fact, the main conflict switches back and forth from “Man Versus Man” and “Man Versus Nature” once Harold meets his narrator, Karen Eiffel, and a character within Stranger than Fiction herself. She does fall into the villain category Glassner discusses (75), even though her intentions are not malicious. When Harold calls her on the phone, and Eiffel is typing on her typewriter for him to perform that very action, the two types of conflict flip back and forth with the cuts of the scene. Lastly, While Harold is hunting for Eiffel, and through the course of the story, there are many occasions when the conflict steps back to a simpler “Man Versus Man” conflict. He grows, like Glassner discusses in “The Hero’s Growth” (78).

Of course, Stranger than Fiction has both the object and first person subjective viewpoints, as I’ve mentioned in the opening. Moving on, Harold’s ‘imminent death’ is an example of “Advertising the Future”, a story technique (Glassner 99). In fact, a number of narrative devices are used in Stranger in Fiction. “Coincidence”, another technique, occurs and perhaps most if not all of these, is tied to the plot twists. “Dramatic irony” is not only present, by the ‘imminent death’ example, but mentioned within the film by Professor Jules Hilbert (whom Harold enlists the help of). Harold’s hunt for Eiffel is a good “time bomb”, creating the main suspense in the film. A very good “planting and paying off” is Ana Pascal, who seems nothing more than an angry auditee, at first (Glassner 99-108).

Stranger than Fiction has its share of interesting characters. Harald is not only described as a “man of infinite numbers” but the audiences get to see these numbers as well. The filmmakers animate Harold’s internal calculations and counting with an omnipresent graphic user interface-like display (there’s a very long commentary on the DVD about it) that pops up during the movie. Not only do we hear that Harold is eccentric, but the audience can see it was well. One of the other major characters, Ana Pascal is introduced yelling at Harold, clearly bent on sharing some of her angst with him. Also, Karen Eiffel, the dark author, constantly brooding over her story’s climax, is certainly one our audience wouldn’t find skipping down the street. These ‘exaggerated traits’ are, according to Glassner, commonly found in narrative (39-41). However, I feel they only compliment another character device. Glassner’s “Nested masks” are used in Stranger in Fiction, but are also flipped on themselves (43-47). Starting first mask, Stranger than Fiction does not deter from ‘the true self’ mask. I believe our protagonist obtains this, as well as a “self-image” mask. "Conscience", for our protagonist, is notably different. Simply because the audience member can take note of the loss of the display, Harold’s excessive counting. Also, the audience’s view on Harold’s life being narrated and the non-narrated life can vary, and is open for question. The “World Mask” is established and then flipped on itself, after all, not only is Harold’s world altered by the knowledge he received, so is the audience member’s. After all, when the audience hears smart comment from the satirical Hitchhiker’s narrator, its usually good for a chuckle. However, when Harold becomes part of the audience, he’s hardly laughing when he’s let in on secret.

Stranger than Fiction is appealing as a narrative because while it bends and toys with some of the narrative tools, it doesn’t stray so far that the audience can’t relate. While I do find it interesting to find the use of the narrative tools in the film, I like even better when their use clashes, bends, and is altered. And the witty dialogue to accompany the narration never goes amiss.

"Media on Demand" (Convergence Culture Assignment)

Even as its extinction is imminent, I do appreciate my VCR. As I am sitting in class Thursday, it will be taping the premiere of one of my favorite shows, CSI. Sixty minutes of my favorite prime time show preserved, waiting for my viewing. Even though the technology of the VCR is being outdated, the idea of re-viewing media is far from gone, and perhaps just beginning to be tapped. The demands of the ‘converged culture’ that Henry Jenkins spoke of demand such replay by audiences.

I was one of the few people that viewed the flopped premiere of Anchorwoman on FOX, which is still available on “FOX on demand.” Not surprising to me, since the main character of this series does no credit to women or those who shade my shade of hair color. (Blond.) “FOX on demand” is a concept I’m sure is familiar to many television viewers. Most shows, especially popular series such as the before mentioned CSI, have their own web pages nestled in the network’s web site. A great first option for fans who are a little less hard core than the “Survivor Sucks” crowd that Jenkins reveals the world of.

A “Convergence Culture” to me is a giant VCR. We can recapture our favorite shows that we couldn’t watch last Friday and here they are today or there are shows normally thrown down the tube, simply broad-casted on another medium. (Brilliant but cancelled, for example.) Of course, Jenkins went well out of his way to show us that series are not just simply “reviewed.” For my VCR to ‘convergence culture’ analogy to be complete, I would have to mention how the series that are copied by VCR are “imitated”, “edited”, “re-imagined.”

The ‘converging culture’ Jenkins spoke of is one that is slowly moving away from mass production to customization. For instance, transmedia, such as The Matrix celebrates that each audience member experiences the series differently. Transmedia offers a base and expansion for varying audience that includes members that will have varying commitments. Fans of popular series are not limited to the works themselves but expand the resources at their disposal to reinterpret the series constantly, from endless angles, often in the form of fanfic and fan ‘cinema’ (as Jenkins refers to it). The way fans interact with each other, such as on the “Survivor Sucks” board, has basis in other series. While these television fans are hunting and scrimping for clues, puzzle pieces, the key to the ultimate secret that is unveiled (and I’ll just mention, they used VCRs to re-watch episodes), other fans use such resourceful intellect in fiction, bending reality (or a fictional reality). Jenkins mentions in the chapter on the Harry Potter fan-fiction writers, “Across this book, we have identified a number-the ability to pool knowledge with other in a collaborative enterprise (as in Survivor spoiling)….the ability to make connections across scattered pieces of information (as occurs when we consume The Matrix, 1999…)” (176) The members of The Daily Prophet website take their knowledge and connections, (and writers of any kind of fanfic), and apply it to their writing. Even though their means to is to an end that is for purely enjoyment rather than uncovering a clue to a puzzle, it is just as valuable, as they are effectively employing tools offered to them by the ‘converging culture.’

After I’m done watching, or reviewing, the Thursday episode of CSI, on which day I choose, I might be up to watching some other media. Perhaps later I’ll go re-watch this good imitation of a familiar commercial. Or perhaps I’ll go edit something in Photoshop. For me, Jenkin’s Convergence Culture is a little like “FOX on demand”, or as I like to call it, “Media on Demand,” where media is not just reviewed constantly, but re-imagined constantly.