Feedback:
In class, we had to conduct a Peer-to-Peer review of one of a partner's annotations. Each section of our annotations was broken down with specific questions for each. The feedback I received from my partner was positive for the summary, with them saying my writing was "straightforward and clear". In the Assessment section, they understood that the text is mainly objective but still has the natural bias found in any text. For the "Reflection" section they wrote the most as I tied the annotation to my research project. They found the "artificiality of senses and tricking the mind through disorientation" interesting and how I might explore generating a sensory experience myself.
"Are there any technologies you're interested in exploring or is there a way of designing tools/extensions of the body that work with VR to enhance the sensory experience?" To this, I would respond with possibly, but I have yet to look. By incorporating more senses into the gameplay I would hope that it would generate a more meaningful experience.
They end the feedback with excitement for the future of my project and research, and seeing that it relates well with what I plan to explore.
Annotation 4:
Grau, Oliver. "Introduction - Immersion".Virtual Art : From Illusion to Immersion. 13-18. Leonardo (Series) (Cambridge, Mass.). MIT Press, 2003.
Keywords: Immersion, Virtual Art, Virtual Reality, Illusion, Space, Reality
Topics discussed in this text are how virtual reality (VR) is an immersive experience and a space of illusion. The author uses many historical, social, and cultural contexts, where they constantly refer to older texts and research on VR where immersion is essential. They state that, while VR and immersion are illusionary, it is easily discernable to even those as young as six-years-old, but that is what people find most interesting.
This book is reputable as it has been peer-reviewed and cites many other texts at the end of each chapter (and throughout). It is informative and provides fine examples but is also biased as the text's driving force is on how immersion and illusion work with virtual art. This chapter is interesting as it explores what is associated with VR and immersion, how the words themselves can contradict, and how images can impact the "perception of mage space and reality". It also speaks of appeal in the sense that immersion can make-use of the senses holistically versus only one sense- sight.
The relevance of this text comes from its in-depth understanding of immersion, how it affects viewers/players and that it generally comes hand-in-hand with virtual reality (as you are placed inside the world/new reality). With this chapter or even the whole book, I imagine it could aid me with immersion in my project to determine whether it is as immersive as I believe it is. As I will essentially be working with an illusionary medium, I must work on its space of illusion and its depth within this space. My project relies on immersion to create a journey to explore and experiences; VR can remedy this well, but whether the player is immersed or not as to how absorbed/taken they are with it.
Annotation 5:
Fernández-Vara, Clara. “Game Spaces Speak Volumes: Indexical Storytelling.” In DiGRA Conference, 2011.
Keywords: Narrative, Spaces, Environmental Storytelling, Game Design, Semiotics
This text covers what Indexical Storytelling is and its basis (environmental storytelling), and what it can mean for narrative in games. It examines what already exists in its historical and cultural context and the fact that there was no category for it to adhere to. In its social context, it acknowledges that it takes but a discussion to understand it. The text argues that narrative does not have to be written for players to experience it.
Several times, the author references other writers, games, and console creators (such as Nintendo) and previously written work of their own (other articles). The author takes an unwavering stance on how narrative can have many faces but speaks objectively about it and what that means for game design. I find this interesting as it shows the reader that they can display narrative differently from the traditional sense, using markings and former player interaction rather than just words. Because of this, many can find multiple ways of conveying a story in several manners, providing a way to have linear narratives posed as non-linear.
As I understand it, the text relates directly to what I need to focus on for better player interaction and experiences. This means that narrative may play a large part in my research, even if it is not as forward-facing as, say, virtual reality is. It may be the course of action or the directing of the player that may take its shape as a narrative rather than a self-directed exploration (with no prompts). This does add another element to my research that can change the outcome of it entirely. So to say, if narrative becomes a more significant part of my project, how will I add it practically and in an experiential way that adds to the player's overall experience?
Annotation 6:
Salen, Katie, Katie Salen Tekinbaş, and Eric Zimmerman. "Chapter 23: Game as the Play of Experience". Rules of Play: Game Design Fundamentals. 1-16. MIT Press, 2004.
Keywords: Play, Experience, Meaningful Choices, Mechanics, Systems
Experience, play, and core mechanics are some of the main points of this chapter in Rule of Play. They create the conversation around how core mechanics can be the source of play in many games, and from that comes a (meaningful) experience. The author deals more with the socio-cultural aspect of play as experience but dabbles in historical contexts with examples. The author asserts that game designers "indirectly design the player's experience, by directly designing the rules.
As this text contains credible references to other authors, it is reliable and full of exciting information. Many examples in this chapter are contextualized to understand better what is discussed (whether it is a player experience or core mechanics), helping the reader. Per most texts, it is biased, but with the extra contextualization, it becomes more objective, stating what happens and what it reflects. As you read through the "Core Mechanics" section of the chapter, you find the contextual examples that detail the most important mechanics of each game. It serves as a great way to look into a game that you as a designer are creating and finding the core piece of it.
Like I have said above, this text opens up games to find their primary way of interacting with the game or the mechanic. It asks the question of "what (is/are) your core mechanic(s)?" and if, as the designer, you are unable to answer this, then you may not have one, and this is something you must work on. This is not to say there can only be one mechanic; there can be many interrelated actions. However, in understanding this text, I may not have a core mechanic for my project at this point. There is walking, but is that all there is to it? Can I list other actions that the player can undertake to set them up for a more meaningful experience?
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