Blogging the experience of gameplayhttps://www.gamelog.cl/gamers/GamerPage.php?idgamer=1991https://www.gamelog.cl/logs/LogPage.php?Log_Id=6872Player projection will be the topic of my OPA. I wasn’t too sure after my third hour into the game, as many other possibilities appeared to talk about the game. At first, I was thinking about dissecting the peaceful parts of the game--the moments where the player(s) are not tense with action--relief. However, thinking about it more, combining player projection with the effect of contrasting moments of action with relief, seems like a much more intriguing OPA. When Vincent, Lea, and Alex are playing basketball, the players aren’t doing anything special at all. It is in that normalness that creates an outlet for human projection. One of my favorite parts so far is that after the basketball game, Leo talks with his girl, and Vincent just gets to play some more basketball with Alex. Usually, a moment like this would be implemented as a cutscene in the game, but A Way Out lets the player who’s supposed to be invested in Leo’s moment does, while the other player gets put in the same shoes as Vincent, who doesn’t care or experience the moment himself, and the game sets that up so perfectly.Wed, 07 Nov 2018 15:55:41 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6872&iddiary=12263https://www.gamelog.cl/logs/LogPage.php?Log_Id=6872After a couple hours into the game, I’m really starting to think player projection plays a huge role. The bickering between Vincent and Leo, hearing them say “I already told you”, and “So what the hell were we talking about” during action/stealth scenes provide an interesting dynamic between both the characters, as well as the players. These sayings, along with another few, are strikingly similar to what players would say to each other while playing together. Along those lines, I’m very much liking the progression of the characters, in what actions they do, and more interestingly how the camera puts up a dynamic between the players as well as the characters. More thoughts on this to come as the story progresses.Tue, 06 Nov 2018 22:52:56 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6872&iddiary=12235https://www.gamelog.cl/logs/LogPage.php?Log_Id=6872My first impression of A Way Out exceeded my expectations. Giving the player(s) a narrative opening to the two characters before the game even “starts”-- which in effect gives the option to pick which character seems more in line with the player’s style and views, alongside the character descriptions. It was at this moment that A Way Out was going to be a character-based game, which I really like. The splitscreen mechanic was also very interestingly implemented. Before the two characters even meet, the split screen allows one character to look at or over the other, without the other character’s notice, though the player does. Thirty minutes into the game, and still, I think Leo and Vincent’s first interaction is still my favorite part. Vincent has no idea that Leo is getting beaten up, but the player does, which provides an interesting pre-dynamic of care, despite the two characters even meeting yet. Additionally, after Vincent helps Leo fight, the player has an established connection with the character through the other player and their own character. Yet, Leo does not care for Vincent’s help. I have a feeling that player projection and the question of self vs. ideal self through video games will come about this game log.Tue, 06 Nov 2018 00:16:19 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6872&iddiary=12220https://www.gamelog.cl/logs/LogPage.php?Log_Id=6818I killed Francesca De Santis with a golf ball and acted as a shrink, before killing my target. I’m starting to think 47 is not only insensitive to his line of work, but also that he’s incapable of feeling the remorse or second thought at this point. Whether he’s a psychopath or socially modified by the ICA, I’m left wondering how to approach the character I myself control. The creativity and variety of methods and scenarios are astounding to me. It’s as if the game almost wants to think of the “before” and “leading” up to the actual killing. Whether the game glorifies the killing and creativity I’m not sure, through playing it more I’ll more likely have a better idea of what this game provokes mentally for me. In any case, I’ve really enjoyed dressing up in almost completely unidentifiable costumes, as well as with every contract kill and target, the game presents even more targets, harder scenarios, which means the bigger and more “VIP” the target is, which is reflecting the game’s narrative pretty well, with the shadow client and all.Thu, 27 Sep 2018 23:23:17 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6818&iddiary=12178https://www.gamelog.cl/logs/LogPage.php?Log_Id=6818Costuming has become my almost favorite thing about the game, embarrassing enough to admit. Since putting on the guard helmet and taking it off, dawning the cool white navy suit, I noticed the bandaid on the back of 47’s head, which really puts his role and authority into perspective. It sort of reminds me of scenarios in real life where company heads or CEO’s rake billions and skyrocketing popularity, through the exploitation and use of their fall more intelligent, real visionary employees. Through this I’m starting to re-dissect my role in playing 47, and whether it is I (47) who is the suave, terrifying asset of the game, or whether such a character is that easily manipulated--and used for whatever reason-- is the truly terrifying aspect. I’m also noticing some unique picks on what the gameplay of a “hitman.” In today’s modern gaming market, guns blazing and heavy-action is what I first thought. But, in light of its stealth, an action as simple as waiting, or “blending in” is so fascinating to me, and in some ways more horrifying. A character who waits, meditates, and stalks the vast array of targets is so much more real and grueling than a mindless deadly shootout. My last point of interest is when you confirm a hit on the target, when you approach there lies a bubble that says “talk,” when all you do is kill them. It makes me wonder if their really is more choice, or maybe a hint of the “what if” in the game more so than I first thought.Thu, 27 Sep 2018 15:56:07 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6818&iddiary=12144https://www.gamelog.cl/logs/LogPage.php?Log_Id=6818I always get excited going into a brand new stealth franchise. While I’m no stranger to the Metal Gear Solid, Splinter Cell, and Last of Us franchises, I’ve heard quite a bit about Hitman, and so I was excited to get into it. At first glance, it appeared to be another 3rd person stealth title, but once I found out I was genetically modified and had a vast array of possibilities in taking out enemies, I got excited. I really like the way 47 is introduced as a playable character. It made me feel both powerful yet conserved, because of his serious, stern look and terrifying ability to silently take out enemies. The first time I snapped a person’s neck with extreme ease in the game gave me the feeling that while my character is experienced, poised, and deadly, the player (I) was new, inexperienced, and relatively on edge during my first combat interactions. Additionally, I found the wardrobe changing very terrifying in and of itself, since that could easily be a reality and no one would ever know until it was too late. Despite the real world connections I interpreted, I had a lot of thought and interest into the game, and I’m excited to progress even further.Tue, 25 Sep 2018 21:45:00 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6818&iddiary=12079https://www.gamelog.cl/logs/LogPage.php?Log_Id=6758The ethics in Little Nightmares is pretty thin. At one point I found myself stuck in a cage alongside many other creatures about to get taken by the janitor. It’s quite difficult bring myself to always just ditch the other creatures and run away from him. That’s one of the tough choices I’ve needed to make in the game. Another, which rivals borderline horror, is having to cut off the janitor’s arms, as he corners you and you pretty much have no other route than to maim him. It’s not that I feel bad about it, it’s just quite disturbing putting a little girls such terrible events. The way I resolve this was to keep Six as safe as possible, both mechanically, as well as what I believe Six would be going through. I kept her in safe dark tunnels for a while to feel like I was easing her into the content of the world, instead of just dragging her through and through such atrocities. Thu, 30 Aug 2018 04:35:19 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6758&iddiary=11974https://www.gamelog.cl/logs/LogPage.php?Log_Id=6758The character Six herself is quite terrifying, especially when paralleled by the world she lives in. Whether the whole game is in fact a huge nightmare or not shows the mental state of such a child in the grim dark and terrifying world. The narrative is quite dark, but very interesting to me based on its non-verbal storytelling. No one talks in the game, and all that’s left is Six’s movement and journey, the world, environment, puzzles, levels, and enemies to convey the narrative. I'm very big on character, which makes me very interested in Six. She doesn't speak, has no backstory, and has seemingly no reason to be where she is. But in a way, this makes sense in the game, because it adds one more aspect of horror to the game.Wed, 29 Aug 2018 01:14:43 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6758&iddiary=11936https://www.gamelog.cl/logs/LogPage.php?Log_Id=6758Little Nightmares is a very interesting game to me. I see a lot of influence brought in from other titles--American Horror Story for one-- but definitely takes its own spin on horror, character presentation, and narrative. I note that its character presentation, not development, as the main character doesn’t seem to change or grow all that much throughout the game. This is important because this tells something further about the game being played and the characters in the world. One thing I think the game reflects from our in-class lectures is that it offers a meta-commentary on some political issues, and mainly the politics of childhood. I can’t say if I’m reading too much into the game, but seeing a girl thrown and abandoned, having to fend for herself in a dark and terrifying place, in places where she’s not supposed to be, being chased by a janitor!? Sounds too much like school to not read into it. The death and visually disturbing aspects of the game could have lots of significance to other aspects of childhood, whether it be child trafficking, abuse, etc. It makes me a lot more invested in Six while keeping these things in mind while playing the game.Wed, 29 Aug 2018 00:48:17 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6758&iddiary=11933https://www.gamelog.cl/logs/LogPage.php?Log_Id=6728One of my favorite games of all time is Donkey Kong Country for the SNES. Growing up my dad and I have played all the retro games and this is the one that stuck most with me because of its music, gameplay, and non-apparent narrative. The game doesn’t have a narrative in a very "narrated" sense, but it’s hidden through the character's journey, their body movements, and other indicators throughout the levels. However, the games narrative itself isn’t all that difficult to pick apart to begin with— an ape and his monkey nephew go take their huge bananas back from a pirate king— basically killing and ravaging through lands to do so. Morally speaking all parties are at an egregious fault, but I though it would be interesting to talk about the narrative from a metaphorical standpoint about people who at the same ends do something to avenge the means by which they’ve been encouraged to act. That being said, the choices the players are encountered with are very interesting mechanically. Sometimes the player is free to not kill or knock out the enemies in their way, but at the same time it’s so much easier and rewarding at times to do so. I feel this can speak to many instances in the gaming and real world where people take the more rewarding route despite their morally-fragile nature. The way this is resolved isn’t really implemented in the game, as it is an action platformer where jumping on things deemed as enemies is the main mechanic to reach a goal. Because of this, and the fact that the game was made in the early 90’s without much philosophical or narrative thought, its hard to say what values are trying to be conveyed. But, this is why I thought it would be interesting, and funny even, to read into a game that maybe has nothing to read into, and that’s the fun part of it. I always have a blast and have tried to play the game in different ways to create a different experience— playing the game hitting all the enemies I can, taking a pacifist mode (impossible in this game btw), and have even learned to speed run it. This game offers a lot to both how games can be played as well as what we can take out of it. One just has to know what to look for.Sun, 26 Aug 2018 17:23:14 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6728&iddiary=11894