If Text Then Code

  • About the Course
    • Course Goals
    • Course Modules
  • Important Information
    • Contact Me
    • Policies
  • Schedule
  • Assignments
    • Reflection Posts
      • Prompt #1
      • Prompt #2
      • Prompt #3
    • “Found Text” Abstracts
    • Build Your Own Website
    • Write Your Own Text Adventure Game
    • Publish Your Own Digital Edition
    • Final Project
    • Rubrics
  • Resources
    • Readings
    • Tool Kit
    • Tutorials & Exercises
  • Reflections

Literary Gaming: Questioning Traditional Agency in Game-Play

September 20, 2016 by Maureen Maclean

My group (me, Iris Fu, and Matt Fay) is creating a superhero game in which the player can choose between three superpowers: super-strength, the power of flight, and invisibility. With the limitations of their ability, the player must navigate one of three different scenarios assigned to them by probability/chance. All three scenarios feature the player (superhero) confronting and trying to defeat a villainous force. Each scenario is written to favor one power, thus limiting success by chance and ability (superpower). Even though certain scenarios are more adventitious for a certain power, the outcome of any run of the game is not as clear as win or lose. For example, the player might be successful in saving the day but still end up in jail; life isn’t black or white, but it’s messy and gray.

The Netflix hit show Jessica Jones inspired my scenario in which the player is an investigative journalist trying to get at the bottom of a government conspiracy. Unlike a lot of superhero narratives, Jessica Jones questions traditional concepts of agency and morality. At the end of the season, viewers are not rewarded clear winners or losers and conflicts still remain at large.
The Netflix hit show Jessica Jones inspired my scenario in which the player is an investigative journalist trying to get at the bottom of a government conspiracy. Unlike a lot of superhero narratives, Jessica Jones questions traditional concepts of agency and morality. At the end of the season, viewers are not rewarded clear winners or losers and conflicts still remain at large.

In the introduction of Literary Gaming (2014), Ensslin states that literary games are “designed to make players reflect on conventional aspects of games such as fast-paced action, rule-governed kinetic behavior, goal-directedness, and simplistic friend-and-foe binary thought ”(7). Indeed, our game fits within this framework of literary gaming as our game delineates from traditional aspects of fairness. For example, many traditional games start with players on equal level fields; regardless of the race you choose in Skyrim-whether Breton or Argonian- you will get the same quests. In our game, however, players are assigned scenarios that are easier or harder depending on their power. Even beyond the realms of game or narrative, our game asks players to question their experience of life in terms of the choices awarded to them by chance and/or ability. How does privilege affect your circumstance? What abilities or lack thereof affect what you can do or accomplish? How much “luck” do you reward to your current situation in life?

Like many literary games or really games in general, our game is a collaborative effort. Using Rettberg’s definition, each team member is a conscious participator- we all know the restraints, nature, and our role in the project (137). For instance, each of us is writing one scenario that favors one superpower: Iris is doing super-strength, Matt is doing flying, and I am doing invisibility. Even though we each write a scenario, we have to be mindful to balance our stories in terms of length and difficulty with each other’s. Additionally, we have to be mindful not to make our scenarios to similar to each other. One challenge or difficulty of working in a group of three is that we can’t read each other’s minds; we have to continually communicate about how our scenario is evolving. Also, in terms of the division of labor, our method (we all write and code) is inefficient. It delineates from traditional group work that assigns a role to one person, such as one person coding and another writing the story. On the other hand, our method offers a greater variety of game-play and lets each of us participate in storytelling process. If I were to create the game alone, I would not have the time to create 3 scenarios much less have the creativity to ensure that they each represent different points of view.

My narrative outline of the game. WARNING: contains spoilers.

Filed Under: Reflection #1, Reflections Tagged With: agency, choice, DH, Game, Iris Fu, Matt Fay, maureen, python, reflection, super powers

Comments

  1. Jingya Wu says

    September 27, 2016 at 2:22 am

    Hi Maureen! I really love your idea that the result of the game will not be either winning or losing. Just like what you’ve mentioned, life is about making the choice that maximize the benefits and minimize the drawbacks. I also think it is very clever to break the game into three scenarios, since I think it is more difficult to come up with a narrative in a group of three. I have read the spoiler (unfortunately, since I didn’t see the warning first), but I am still looking forward to playing your game as it comes out!

HUMN 271

Bertrand 012
TR 9:30-11:20am
Dr. Diane Jakacki

Authors

  • Dale Hartman RSS feed
  • Diane Jakacki RSS feed
  • ejp013 RSS feed
  • Ella Ekstrom RSS feed
  • jaa023 RSS feed
  • Jingya Wu RSS feed
  • Julia Wigginton RSS feed
  • Matthew Fay RSS feed
  • Matthew Lucas RSS feed
  • Neil Lin RSS feed
  • Peter Onusconich RSS feed
  • Sarah Rosecky RSS feed
  • Tong Tong RSS feed
  • Xing Fu RSS feed
  • Yash Mittal RSS feed

Creative Commons License

Creative Commons License Bucknell University Humanities 271 Course by Diane Jakacki is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

Copyright © 2023 · eleven40 Pro Theme on Genesis Framework · WordPress · Log in