History and games presentation

History and Games

     For this project, we needed to chose one aspect in games that we feel strongly about and research and discuss about it.  We were again split in a group of 5 (me, Zoe Rice, Tom Donachie, Matthew Fenn and James Dyer). We have decided to discuss history in games, how it is being depicted, how it intertwines with fiction and what is the right balance between reality and fiction in order to create a good gameplay. We each chose a different game to talk about and then put everything together.

For my part of the presentation, I have chosen to talk about Japan in games. I am quite fascinated by the Japanese culture in general, past and present, and I really admire their discipline, applied into every single aspect of their life. I have read the Shogun about 10 years ago, and Memoirs of a Geisha about 5 years ago, and I find it really interesting how their century old traditions are being kept even now. 

To remind myself about the details of the Japanese Civil War (the most talked about period in Japanese history) I have watched a documentary on it: Japan: Memoirs of a secret Empire. (I only watched one episode, where they were describing the time of the Portugese missionaries landing on the island). It was really interesting how the differences between cultures were described here. 

  The Japanese were living their life based on culture, poetic and flowering rituals, but at the same time, they were going through an intense and rigid struggle for power. Their culture was very developed and they also had a very complex political system, hence, when the Portugese arrived and realised all this, they treated the Japanese as equals, which was not normally the case when new territories were being discovered during those times. 

There were massive cultural differences between the two civilisations, which instilled a lot of respect: while the Europeans were eating with their hands, the Japanese were using chopsticks, while the first were having baths once in a few months, the latter were taking them daily. Even though the initial idea was to convert all the Japanese people to Christianity and implement the European culture and traditions, eventually, the Portugese realised that this culture they have come across, was more advanced and  even though it was different, they have learnt to accept their traditions. One thing that puzzled the Europeans initially was the way the Japanese were writing: top to bottom, rather that the traditional left to right. But when asked for their reason to doing it that way, the Japanese answered with: "a Man's head is at the top and feet at the bottom", so it's only normal to write that way too. Simple and logic explanation, that was immediately accepted.

I have also learnt a lot about Tokugawa Ieyasu, one of the most important figures in Japanese history, as he was the Shogun that established a Dynasty that ruled Japan for 250 years. Tokugawa Ieyasu is the  preferred choice of main characters when Japan is depicted in games as well. 

The games that I have looked into, in order to see history is being depicted and also how Ieyasu is being portrayed, were:

-Paradox Interactive (PC)

- Samurai Warriors ( PS3, Wii and Nintendo 3DS)

- Sengoku Basara (PS3, Wii)

- Civilisation (PC)

- Kessen (PS2)

- Nobunaga's ambition (PS3)

Here are what we came up with after our research:

                            

                         

                            

This is how Tokugawa Ieyasu was being portrayed in Sengoku Basara - a long way from the original :)

  As a conclusion, James talked about how some games are picking certain events in history and base the events around that, while introducing a fair amount of fiction as well. In other games, the actual historical events have been changed completely ( one very good example was Sniper Elite V2, where  Hitler has been assassinated, while in reality he committed suicide).

And, I do agree totally with the idea of combining fiction with reality in the historical games/literature or movies, as the gamers/audience finding more exciting this way, and also, because if anyone is really interested in learning about history, there are plenty documentary games, books or movies available.

A few examples of documentary games can be found on: http://www.bbc.co.uk/history/interactive/games/

History and games - research work

History and games

     For this project, we were again split in groups, and I was part of the same group of 5 ( Tom Donachie, Matt Fenn, Zoe Rice and James Dyer). We had to chose an aspect of the games that interests us and discuss it in detail. We have chosen the historical element of games and we tried to research how it is presented and used, how much the creators stay true to the real facts and how they intertwine them with fiction for a better gameplay and to create more drama.

In “Privileging Form Over Content: Analyzing Historical Videogames,” Adam Chapman argues that in order to understand historical video games, scholars must go beyond analyzing only the surface-level content. Chapman compares games to historical films, in order to demonstrate how different epistemological approaches can be applied to different mediums. Historical video games, he concludes, requires analysis that privileges form over content.

(http://journalofdigitalhumanities.org/1-2/games-and-historical-narratives-by-jeremy-antley/)

  History always seemed to provide a massive source of inspiration to game developers, whether it's World War II, the Civil War in Japan, the American Wild West, Ancient Greece, or the Roman Empire.
However, some games manage to preserve really well the historical facts, while others are so far from reality that they manage to create a completely distorted vision of events.

  I know games are not meant to teach anyone history, so, from this point of view, I totally agree with the ones who only depict certain elements from the period they are being set in. As with the historical films, it is really difficult to follow through in all aspects ( events, characters, costumes, dialogue, etc) and create an enjoyable experience as well, so of course, some events are being distorted for added drama, some artefacts are being introduced to improve the stage visually, even if they don't belong in that time period.  -  Does it really matter that Gothic architecture is featured in Assassins Creed when it has no place in that time period?  (http://www.criticalgamer.co.uk/2009/10/21/history-in-video-games-a-closer-look/)

Games can be platforms for building, and not simply consuming, knowledge. 
(http://journalofdigitalhumanities.org/1-2/games-and-historical-narratives-by-jeremy-antley/)

  I, personally, am fascinated by the Japanese culture, so I had a closer look at games that depict this subject. I found quite a few that touch this subject, even if, some of them are not totally dedicated to Japan ( I.e. Paradox Interactive, Total War series, Civilisation, The Way of the Samurai, Samurai Warriors, Sengoku Basara, Kessen, Nobunaga's Ambition)

  Most of these games refer to one of the defining events in Japanese history -  the end of the civil war and the unification of the country. The most important figure in this "process", was Tokugawa Ieyasu. Following the battle of Sekigahara, during which all his remaining opposition was crushed,  Ieyasu was invested as Shogun by the Emperor  and he established a Dynasty that would rule Japan for 250 years. 

  The same Tokugawa Ieyasu and the battle of Sekigahara were featured in the novel Shogun  by James Clavell in 1975 (even though, the names were slightly changed - in the novel Ieyasu  is called Toranaga). There has also been a TV adaptation of the book in 1980, so this historical period, clearly presents a lot of interest to the public. 

  So it's only fair for games to try and portray these events and allow the player to feel part of them. With games, however, the player has a lot more control over events in comparison to a novel or a movie. In Paradox Interactive, the developers have tried to keep the narrative as close as possible to history, while allowing the player, at the same time, to take a few different avenues. So if a history lover plays the game, the decisions taken regarding strategy, will probably be quite true to the historical facts/events, however, if the game is played by someone who would like to explore the avenue of "what would happen if...", we could have a totally unusual story developing. This is where the pleasure and fascination lays with video games.

In the same way, real life historical characters are being portrayed in quite different ways, even when it comes to the artist's job. The same character mentioned above, Togukawa Ieyasu has got quite a few different interpretations in various games.


 While the real person looked something like this:

Image of Tokugawa Ieyasu on a Katana Tsuba (guard at the end of the grip of a bladed Katana Sword)

Drawing of Takugawa Ieyatsu in history books

Monument of Takugawa Ieyatsu

...in games, it was portrayed like this:

This is Takugawa in Sengoku Basara

Kung Fu Clean

Kung Fu Clean  - a game based on scrolling along 2 axes

The theme of this project was to research and come up with an idea for a game based on scrolling along 2 axes.  I was part of a team of 5, alongside Zoe Rice, Matthew Fenn, Tom Donachie and James Dyer.

We had a couple of meetings where we have discussed the classics in this type of game and decided that the ones that influenced us all, were the ones mentioned in the first slide listed below.

 Dariusz Jacob Boron, in his essay: "A short history of digital gamespace", talks about the games that allow the player to scroll along to axes and describes very well how this has improved gameplay and what this game space a is actually all about. He says that : "Gauntlet (1985) and SimCity (1989) permitted  scrolling  along  both the x and y axis on a two-dimensional  plane; players moved through puzzle  world with free rein over the flat plane of the perpendicularly  positioned  viewing screen.  Later versions of SimCity, rather  than giving the player a bird's-eye  view, evolved to provide an

isometric viewing  angle. The  combination of two axes  of movement  and a drawn

perspective  allowed  players in side-viewing  games such as Blades of Steel (1987)  and

its football  equivalents  to move from left to right, but also allowed  up and down

play. The  simple eight-button controller  sufficed  for these games  and many  of the

games to follow.  Chiefly,  the lelt hand controlled movement  while the right hand

controlled the action buttons to shoot,  jump, kick, etc."

As a group, we have chosen totally different examples of games using this particular game space, such as Sonic, Mario, Metroid and Metal slug. These are the games we have played and have influenced our future view on games in general

Just a few visual examples of some of the games based on scrolling along 2 axes

Just wanted to mention a few restrictions and opportunities that this type of game have encountered / produced.

Our game - very simple game mechanics: you need to get from A to B and score points. Because of the type of game space, where you can only move left - right ( or forward - backward) and jump or climb, it is pretty much self explanatory in regards to the game play. We have introduced however, on the y axis, drains to climb down into ( and collect extra bonus points - similar to Mario) and also trees, to climb up on ( that's where you need to jump from and break the drain cover in order to gain access to the drain itself and the bonus points). So we have used the y axis in all its expanse. :). The x axis was used in a normal way, starting the game from the left side of the screen (or starting point A) and moving along till you get to finishing point ( B), while trying to collect as many points as possible (points represented by pieces of litter collected, as this is a street cleaning game) and at the same time fighting off the litter creating "enemies" (pigeons, hobos). At the end of each level the player will have to fight the Big Boss which is a hobo with a shopping trolley. Weapons used by player will vary from broom, to squeegee, or trash picker).

This slide explains exactly the where and when, the action takes place, what its purpose is and who the characters are (and by this, I mean the enemies as well). The first level is set up in the day time in a park. Player will be able to chose one of four characters to play as, and depending on character chosen, the "weapons" will adapt. Also, the moves used when fighting will be specific for each character, as the names invoke famous martial artists. 

This is basic sample of the level concept. This was designed by James Dyer, and it shows the basic elements we wanted to include: we have litter, in the form of banana peels, we have a checkpoint in the form of the sidewalk lamp (which turns on once you have passed the checkpoint), we have a tree to climb, and an underground level to jump into, in order to collect extra bonus points/litter).

These are our characters ( designed by Tom Donachie). First one is Chuck, second is Jackie, third is called Jean Claude and the fourth one is Bruce. They all have different / specific kicks and punches in their arsenal, and at the beginning of the game, the player can chose which character to play as. Because the characters are based on martial artists, they will, of course, perform the trademark punches or kicks that define each one of them. :)

Not much more left to say about this slide. We have chosen simple, arcade style controls, as the game itself makes reference and intends to take us back to the arcade era of gaming.

Semiotics in games

Semiotics in Games

      For this project we had to chose one scene from a preferred game and analyse it.

I have chosen the same scene that I had before, with the dance ring, from Rayman - Raving Rabbids. Reason for this, was the fact that this is one of my favourite games, and I love the dancing part of it. I found it difficult initially to get the rhythm and get the points necessary, but after a few attempts, I fell in love with it and can't get enough. 

Semiotic interpretation of Rayman -  Raving Rabbids dance scene

The atmosphere in this screen shot is created by the oversized Disco lights and speakers in the back. You can totally "hear" the LOUD music.

The Rabbids are all with their eyes and mouths wide opened, everyone understanding clearly, that they are singing along with the music, which is again, a very clever way of symbolising the fun. Hands are all up in the air, all doing the same dance move, again, another symbol of the fun atmosphere.

The set up is a dark, club like scene, with 2 big spotlights emphasising only the scene and who is on it. Nothing on the side is of interest, so it is put in darkness. The Chiaroscuro light effect is very well implemented here, with such a big contrast being created between important and negligible through very clever use of light.
The scene is also created through Rayman's costume (main character - central front), with 70's style being invoked, through his outfit, hairstyle, glasses,  and the dance moves performed, where everyone seems to be following the same routine ( analogy to Saturday Night Fever).

Throughout the entire game, there are lots of references to various movies and videogames, making fun of different aspects of them. Outfits used to customise Rayman include Indiana Jones, Spider Man, Street Fighter, Sponge Bob Square Pants and even Assassin's Creed, Haze and Sailor Moon.

You can definitely understand at a glance, that this is not a shooting game, or a strategy one. It is definitely a family, fun/party game.

Symbols:

• disco lights - symbolise fun, entertaining atmosphere, 70's club scene
• speakers - being bigger that the actual characters, they symbolise loud music
• spotlights - characters on the scene are the most important ones, emphasis is being put on Rayman, the main character
• Rayman - he is positioned centrally in the image, so he is definitely the main character
• Rayman's outfit - scene is probably set in the 70's disco era. Rayman is a very clear impersonation of that period.
• dance moves - you can only assume that as the scene is set with the other symbols, the dance moves symbolise the 70's style of music, as they all dance together a preset routine
• life bar at the bottom of the screen - only a third full, which gives the impression that the task (dance in this case) is a third of the way through
• Rabbids' eyes and mouths wide opened - symbolise the whole fun theme that is attempted in this screen shot

Contexts of me

Contexts of me

   For this project, we were asked to describe ourselves and the contexts in which we exist.

To better describe myself, and the multiple contexts in which I "operate", I have a done a mindmap.

Here it is:

Basically I see myself as 4 different "characters": Student, Mum, Wife and Me time. Each individual character has got its individual activities/tasks listed here.

Being married and having a 3 year old daughter, my life revolved around my home, but,

starting this course, has shifted my priorities slightly. So my wife/Mum context is being 

shared a lot more with my other half, in order to gain extra time for studying, while my 

Me time is being either cut out or being merged with the student one. While before I was 

reading novels when going to bed, now I tend to read various magazines and literature 

that refers to the course (painting, drawing, modelling, etc). So this mindmap, even though accurate at the beginning of the course, it changes constantly and will probably look 

completely different at the end of it. 

Analysing games - Rayman Raving Rabbids

Analysing games

  For this project we had to chose a video game and analyse it in all aspects, in order to improve our analytical vocabulary. When finishing this course, and starting work in the industry, knowing details about history of the games and being able to analyse various aspects of them, in order to be able to produce or critique new ones, is essential.  James Paul Gee said that:  "When people play videogames, they are learning a new literacy". This sums up in one simple sentence what gaming is all about. You cannot limit yourself to just playing a game, you must be able to talk about it, discuss pros and cons in an academic way, you must be able to analyse and compare it with other similar games, based on research done in that particular genre.

In the same book. "What Video Games have to teach us about Learning and Literacy", he also made a very clear point that: very often today words and images of various sorts are juxtaposed and integrated in a variety of ways. In newspaper and magazines as well as in textbooks, images take up more and more of the space alongside words. In fact, in many modern high school and college textbooks in the sciences images not only take up more space, they now carry meanings that are independent of the words in the text. If you can’t read these images, you will not be able to recover their meanings from the words in the text as was more usual in the past."

Gee has alos come come with 36 principles of learning, out of which, the third one is the Semiotics principle  explained as "Learning about and coming to appreciate interrelations within and across multiple sign systems (images, words, actions, symbols, artifacts, etc.) as a complex system is core to the learning experience."

This is just another way of accentuating the place that video games have in our today's society and the importance of being able to analyse in depth the images created through them and also, accentuating how fundamental it is to be able to understand the messages being sent out through this media. Games are becoming as important as books and movies, in making a statement regarding world politics, economies, etc, so it is vital for those who play them to be able to understand and interpret what the creators have tried to communicate.

The game I have chosen to analyse semitonically, is   Rayman - Raving Rabbids, as this is one of my favourite games. I love playing family games, Wii having been my favourite console until XBox brought out Kinect, so the interactive, motion involving games stand out for me, with narrative (i.e. Dear Esther) and puzzle solving ones (i.e. The Room) coming in close second place.

Rayman – Raving rabbids

Semiotic analysis of the game

Cambridge dictionary defines Semiotics as "the study of signs and symbols, what they mean and how they are used"

So, semiotics refers to the entire vat of knowledge we must have to read a particular piece of literature

Recording the details

Created by Ubisoft Montpellier

Published by Ubisoft

Genre –Party/ mini games

Target audience – family (party games)

Designer - Michel Ancel
Mode – single/multiplayer
Game space - 2D Platformer

Release date – Nov 2006 (North America ) on Gameboy  Advance , Wii, Playstation 2 and Windows

     March 2007 (North America) on Nintendo DS and Xbox 360

Formal elements

-       Dance floor

-       Disco lights

-       Spotlights

-       Rabbids

-       Rayman

Focal point – Rayman

Geometrical shapes - squares (dance floor)

                                - circles (lights projected onto the dance floor)

Symetry – scene is perfectly symmetrical ( one spotlight on each side, 2 rabbids on each side, equally distanced from Rayman, Disco light in the centre, Rayman in the centre) with the exception of 1 Rabbid jumping out of the scene off centred.

Methods used to lead the eye around the scene – Spotlights / Disco light          

Space/depth  - creating  more or less realistic scene (dance floor) but limiting the space at the same time with the introduction of lights/dark (light in the middle to draw your attention while totally darkening the sides of the scene to suggest that there is nothing to be explored in there)

Colour  - Bright, happy, fun colours, are being used, the mood being created / emphasized through colour

             - More or less the whole colour palette is being used depending on the scene

Light     - chiaroscuro effect definitely  present in this scene as the centre of the image is fully lit, while edges are in complete darkness