Annotated Bibliography

Austin Rider

English 102         

Colleen Halverson

3-27-14

Assignment #7

Annotated Bibliography #1

Dubbelman, Teun. “Playing the Hero: How Games Take the Concept of Storytelling from Representation to Presentation.” Journal of Media Practice 12.2 (2011) 157-172.Academic Search Complete. Web. 11 Mar. 2014.

                Teun Dubbelman, author of Playing the Hero: How games take the concept of storytelling from representation to presentation, is a professor from Utrecht University. Dubbelman analyzes different concepts from video games, novels and books, and movies. The audience can vary in crowd, from anyone interested in any of the subjects relating to; theatre, movies, video games, books, interactive movies, or story telling’s. Dubbelman puts forth information like the representation versus presentation and learning the differences between the different narratives and what each one brings to the table.

Video games are the most interactive out of books and movies. “…the interactive nature of games as something that separates the relatively new medium from older media such as films and books” (Dubbleman 158). The player can control many different aspects in the game that can affect the outcome of the story in some way. This is where more interaction is involved compared to books or movies; they have their set characters and exactly the path of what the main character(s) is going to do and what is exactly going to happen to others around it. Where as in video games, the characters actions are not entirely predetermined, different paths can be taken at the player’s own will. However, the game still has a preset story that it must follow, but adding this interaction can draw players into the game. “…the player becomes the hero and experiences adventures of his own” (Dubbleman 158).

                The movies, video games, and books all contain a narrative, or a story. Narrative derives from the Latin phrase ‘to recount.’ Thus, with presentations in things like theatre, these original stories are reproduced for the audience to view for entertainment. A narrative can be verbal, written, or pantomimic. The logic and structure that comes forth in narratives is called the theory of narratological aims. Basically, it’s the analyzed version of what the story really means and how it is presented. Christian Metz of “Film Language: A semiotics of the Cinema” insists “Reality assumes presence, which has a privileged position along two parameters, space and time; only here and now are completely real. By tits very existence the narratives suppresses the now (accounts of current life) o the here (live television coverage), and most frequently the two together (newsreels, historical accounts, etc.)” (Dubbleman 160).

                What I enjoyed reading about in this article is how each presentation of narratives have their own way to reach out to people. However, I’m more for the interactive actions that video games bring. We can create our own sort of ‘stories’ from playing video games. Books are also fantastic because they can really draw in the reader and as they say ‘get lost in the book.’ There are many positive aspects that each contains, and each is unique in their own way to provide entertainment.

Annotated Bibliography #2

Schmierbach, Mike. Limperos, Anthony M. “Virtual Justice: Testing Disposition Theory in the Context of a Story-Driven Video Game.” Journal of Broadcasting & Electronic Media 57.4 (2013) 526-542. Academic Search Complete. Web. 25 Mar. 2014.

                Mike Schmierbach and Anthony M. Limperos are the authors of “Virtual Justice: Testing Disposition Theory in the Context of a Story-Driven Video Game.” Schmierbach is an associate professor of media studies at Pennsylvania State University with a Ph.D. at UW-Madison. Limperos is an assistant professor in the College of Communication and Information at the University of Kentucky with a Ph.D. at Pennsylvania State University. The article can relate to anyone who might be interested in the decision making behind video games. I can relate to the audience because I think video games that have more decision making on the player’s part prove to be a little more interesting and personal than the traditional do this, do that sort of story line.

                With decision making in video game, morals come into play. Our own personal choices can possibly affect the outcome of the game. If you kill this character, they won’t be able to help you later in the story. If you destroy this house, there won’t be anywhere to go to sleep later. “…audiences enjoy media more when good characters win or achieve a desired outcome and when bad characters lose or are punished” (Schmierbach, Limperos 528). A story line can win an audience over with its outcome, or it may make them change their mind completely depending on their interpretation and general morals.

                This source will prove useful in later research because I will be able to go back on it and use examples of how decision making in video game can effect the enjoyment of the game. With a narrative based game combined with decision making can create an appealing game to gamers. I could possibly investigate why people make certain decisions in video games that are heavily focused on storylines.

Annotated Bibliography #3

Strate, Lance. “The Video Game Theory Reader 2.” The Information Society. 26: 82-84, 2010. Academic Search Complete. 26 Mar. 2014

                Lance Strate is the reviewer of “The Video Game Theory Reader 2.” Strate’s job in this article is to review, and inform the audience of what these stories are about. There is not one single author as the book is divided into different stories of various ideas. The audience can be highly involved because the chapters are stories of a vast selection of different people and themes. They range from anthropology, computer programming, psychologists, and literary theorists. With such a broad selection and variety available in the book, it can easily reach out to many people apart from the typical gamers.

                The leading story consists of a story by Eric Zimmerman. In his chapter, he discusses the major differences between the actual rules of the game and how the game is played. Strate insists that his story is too broad and simply comes across as a promotional teaser. His assessments of the various stories are impacted by his own personal taste and style, however, giving an opinion on these subjects can give the audience more to think about whether they agree with him or disagree.

Annotated Bibliography #4

King, Daniel, Paul Delfabbro, and Mark Griffiths. "Video Game Structural Characteristics: A New Psychological Taxonomy." International Journal of Mental Health & Addiction 8.1 (2010): 90-106. Academic Search Complete. Web. 27 Mar. 2014.

                In “Video Game Structural Characteristics: A New Psychological Taxonomy,” the authors, Daniel King, Paul Delfabbro, and Mark Griffiths, focus their attention on excessive video game playing behaviors that can be influenced by different factors including the structural characteristics. Many words that are common throughout the article that show importance include video game playing, structural characteristics, and problematic involvement.

                Aside from a video game being ‘addictive’ because one might get to, for say, kill someone for no reason without much consequence, like ‘Grand Theft Auto.’ This article focuses on the structure of the game itself. The sound, graphics, setting, gameplay time, and dynamics are only a select few that come with the creation of video games. This article is helpful because it gives the audience a different perspective to look at when thinking about video games. Having a different perspective or outlook will most likely come in handy when thinking of future projects.

Annotated Bibliography #5

Hartmann, Tilo, and Peter Vorderer. "It's Okay To Shoot A Character: Moral Disengagement In Violent Video Games." Journal Of Communication 60.1 (2010): 94-119. Academic Search Complete. Web. 27 Mar. 2014.

                Tilo Hartmann and Peter Vorderer are the authors of “It’s Okay to Shoot a Character: Moral Disengagement in Violent Video Games.” Hartmann and Vorderer are associated with the Department of Communication Science at the University of Amsterdam. They insist that some of the bestselling video games are first person shooters, like Half-Life or Doom. The audience that would find this article interesting to read would be the typical gamers. Also, anyone interested in the psychological aspects could find this worthwhile when looking into the different experiments held. These experiments involved how much time was spent playing video games (amongst undergraduate students) and how moral decision making influences choices in video games and their possible outcomes.

                This article could prove controversial because of the different opinions that can spark from violent video games. People are either opposed to the fact that a video game is just a video game, while others may not want their children trying to kill anyone, regardless if it is real life or not. Aside from the usual stir up, having these experiments, especially the one considering the feelings felt after killing a person in the video game, will help with statistical information in understanding behaviors. I question whether this article will help in future endeavors or not. It will certainly help in things questioning why we make the choices we make, and how to choices effect our feelings and behaviors.

Extra Sources Past Assignment 7

Austin Rider

English 102    

Colleen Halvserson

5-6-14

PĂTRUNJEL, Flaviu. "Death Games And Survival Horror Video Games: On the Limits Of Pure Torture Show Entertainments." Scientific Journal of Humanistic Studies 4.7 (2012): 38-45. Academic Search Complete. Web. 1 May 2014.

            Faviu Patrunjel is the author of “Death Games and Survival Horror Video Games: On the Limits of Pure Torture Show Entertainments.” His primary focus is death in relation to ancient Rome and how survival horror games “expose the viewer to the same intense and obscene violence towards living beings and bodies” (Patrunjel 38). One relation would how horror games sort of derived from Roman times. “Outside the specific historical context of ancient Rome that created the necessity to impose order through fear and awe, gothic literature and the later horror genre of cinema and video games reintroduced the bloodshed entertainment as fictional exercise of imagination (Patrunjel 38). This suggests that Rome is a building block to what today’s survival horror games stimulate.

            An aspect Patrunjel agrees that another source finds important as well is the usage of storytelling in games. “Storytelling is at the core of horror games while its purpose, as other authors agree, is to create the appropriate immersion necessary to scare and disgust the players” (Patrunjel 39). These narratives contain monsters that “can activate notions of contamination or trigger disgust reactions by associating monsters to substances and concepts that somehow pose a threat to the purity of the player” (Patrunjel 39).

            In video games, we normally face some sort of enemy or obstacle to overcome. In other situations, the story line may also have more meaning behind it. “In horror genre human characters’ actions follow a biblical scenario always challenging god-like supernatural beings because at some narrative point someone had to try to find out what was better left unknown” (Patrunjel 40). The characters also go about some sort of suffering or self-revelation that hadn’t been realized previously. Some horror video game settings generally describe the collusion of the capitalist society (i.e. Resident Evilgames and movies), the distinction of its architecture, social chaos and the collapse of social order; others concentrate more on psychology and intimal mental struggling and suffering (i.e. Silent Hill franchise); but all of them bring forth body penitence and torture shows meant to demonstrate there are laws and powerful forces humanity better not forget to respect” (Patrunjel 40). There is always some sort of torture going on through these games that bring forth the horror. Characters can face monsters far beyond their own fears, or become informed of events, such as previous family history, that alters their perspective and can be emotionally daunting.

            Decision making is a key role in most development in video games. These games can also focus on the moral obligation and standards that humans can be held to. Choices we make in video games can alter the story line, or even characters personalities in some instances. “…during the gameplay and while unfolding the story we often find out about some morally unacceptable acts of certain individuals that started the horrific catastrophes bringing the punishments on themselves and others” (Patrunjel 40). Resident Evil is a perfect example of one’s actions causing devastation. In the very first video game, Oswell E. Spencer is a wealthy scientist living in a mansion miles outside of Raccoon City (the Arklay Mountains). He is housing experiments on patients that would be considered unethical. After much failure and experiments, a virus is finally created which reanimates inactive dead bodies. Thus, the start of the zombie apocalypse is born with much suffering from everyone in the world from a single man.

            The usage of cults and religion can be considered one of the scariest things in games or movies, since they can easily hit home with people. Everyone that has been on this earth, presently on it, and for future generations (most likely) will learn about some type of religion. With the vast varieties, there are most likely more people that follow a religion of some sort than don’t. Incorporating these into stories and giving them a unique edge (being villains) draws attention to themselves. Also, we think of religion to be uplifting, a time of repentance, and to get a fresh start on things. Not in these situations. For example, Silent Hill houses a huge back story revolving around the cult of Silent Hill. They cherish and praise a ‘God’ deemed Alessa. The cult can easily kill off anyone going against them, or simply because they want to. “…often the monstrosities tend to follow the rules of social systems that defy the principles of democracy (structured in medieval religious organizations, like the sect of Las Plagas in Resident Evil 4 or the religious cult from Silent Hill plots)” (Patrunjel 41). In a deeper sense, we can also fear such religion and cults in real life. Although religions condemn killing and forms of torturing, etc, one might find an alternative that is negatively effecting individuals that one might be able to relate video game religion to real life religion (for example, homosexuality).

Austin Rider

Colleen Halverson

English 102

5-6-14

Kirkland, Ewan. "Restless Dreams In Silent Hill: Approaches To Video Game Analysis." Journal of Media Practice 6.3 (2005): 167-178. Academic Search Complete. Web. 1 May 2014.

            Ewan Kirkland is the author of “Restless Dreams in Silent Hill: Approaches to Video Game Analysis,” which is a perfect article for my research because my topic relates to Silent Hill. Silent Hill is one of the best games when dealing with psychological matters and true video game narratives. It brings horror that can really get inside the mind of the character that other video games may not be able to do. Enemies are shaped around the main character’s fears or personal setbacks (nurses represent sexual frustrations) and the story is proven long and emotional (searching the town for your lost daughter, finding loved ones killed). “Silent Hill clearly incorporates traditional media elements: story, characters, locations, (virtual) camera movements, mise-en-scène, sound effects and music; but also components more specific to video games: physical and cerebral puzzles, monster Artificial Intelligence (AI), multiple narrative pathways and multiple endings” (Kirkland 168).

            Silent Hill relies heavily on its story telling to create the atmosphere for the game. Other games focus more on the present entertainment, while Silent Hill often leaves lingering questions that may lead to more replay value. drawing heavily on cinematic conventions and viewing practices, represent the most overt moments of storytelling, other video game-specific methods are also employed within the  series requiring more direct player involvement” (Kirkland 169). There are subtle indications and objects that one might overlook in the first round of gameplay that reflects on the backstory of Silent Hill or the character. Each game gives its own take on a character facing some sort of problem. “The Silent Hill series, characteristic of most adventure games, is classically goal-orientated. Harry must find Cheryl (SH1). James must find Mary (SH2). Heather must return home, then avenge her father’s murder (SH3). Henry must escape his apartment (SH4)” (Kirkland 170). Each game comes with its own settings and characters. Most places visited in these games are often not repeated in other games, although some areas are frequently more revisited than others, for example, the Alchemilla Hospital is present in Silent Hill 1, 3, Origins, Homecoming, and Shattered Memories. Other places are unique to their own game and story, for example, The Devils Pit, a mining attraction for tourists, is only seen in Downpour. “Each game involves fighting monsters and solving puzzles. Action is divided between the maze-like streets of Silent Hill and the town’s equally maze-like tourist attractions, public buildings and apartment blocks” (Kirkland 172).

            Overall, Silent Hill offers many unique video game characteristics that other video games might not offer. The just of the game is quite simple, “The characters’ pallid complexions, their disorientated behavior, even the ethereal, misty, deserted streets contribute to the impression that Silent Hill is a limbo or afterlife, where dead white people come to relive the pain of their guilty past” (Kirkland 175). Silent Hill focuses more on psychological playing than it does a heavy, action-packed shooter. The many twists and turns of the town and buildings, the fog and darkness, the horrific monsters and inhabitants, and the often “feel bad for the character” quality all lead to an exceptional game.