his game is a perfect enactment of the overtasked lives of Americans in the 1990s-ofthe constant bombardment of tasks that demand our attention and that we must somehow fit into our overcrowded schedules and clear off ourdesks in order to make room for the next onslaught. (34)

However, we do not usually expect to experience agency within a narrative environment.

I have come to call the “violence hub

When things are going right on the computer, we can be both the dancer and the caller of the dance. This is the feeling of agency. (4)

Agency is the satisfying power to take meaningful action and see the results of our decisions and choices. We expect to feel agency on the computer when we double-click on a file and see it open before us or when we enter numbers in a spreadsheet and see the totals readjust. However, we do not usually expect to experience agency within a narrative environment. (1)

An IDN empowers audiences as interactors but also requires them to make choices by picking perspectives and taking decisions

Virtual worlds that tell stories, generate belonging, and provide cultural resonance are the ones that last. Digital environments succeed when they become sites of identity play and storytelling, not when they replicate physical space.

gency is the satisfying power to take meaningful action and see the results of our decisions and choices.

When I speak of poetry, I am not thinking of it as a genre. Poetry is an awareness of the world, a particular way of relating to reality’ – Andrei Tarkovsky

Agency is the satisfying power to take meaningful action and see the results of our decisions and choices. W

, a story I have come to call the “violence hub.”

Agency is the satisfying power to take meaningful action and see the results of our decisions and choices.

Such repeat engagements enable increasing understanding of the complex phenomenon, by building upon the knowledge gained in earlier traversals. (

Instead of making an active effort to understand each factor of the story presented, players instead make a passive effort that doesn't challenge the status quo.

is about "queer entanglements,"

Another example of a primarily "Empathy-Based" game is Unravel, which unlike many of the other examples, is a game that was done correctly.

he player cannot actually relate to the feelings they are "empathizing" with, but they nonetheless are taking these embodied identities as their own

embodies

[MH, GG, KH]

JC, SB, YD, RC

If adventure games gave walking simulators their focus on exploration and immersion, and generated worlds a contrarian design to react against (pushing away from randomness toward curation), slow games created a foundation or context for games to be minimalist and contemplative and connected to a lineage of art that explores these aesthetics.

The ability to move through virtual landscapes can be pleasurable in itself, independent of the content of the spaces.

Ending is already determined so the player is allowed to focus on the rules and procedures needed to get to the ending

This note shows how random the family's disappearance was, leading to further confusion from Katie.

which was packaged by the idea of empathy was confusion.

These specific emotions should not be overwritten with one single word, instead they should remain separate to retain their complexity.

image Image of one of Sam's journal entries to Katie emphasizing the change that has occurred over the time that Katie has been gone

(Ruberg 67).

.

In this image Katie

In Gone Home, the player views Sam's narrative through Katie, and does not get the first-hand experience of Sam's situation as she is an outsider to the development of Sam's disappearance.

Ruberg is saying that by playing a game about a marginalized group while being privileged yourself is disrespectful when you are doing so to simply empathize with said groups.

Thus creating a misconception for the player.

like this, but this experience is a generalized portrayal o

it minimizes the lives and identities of those who are seen as “different” or “other.”

ng.

The letter below displays the argumentative n

).

To the player, Lonnie is just a stranger, but to Sam, Lonnie is a very important person to her.

the player is in a privileged position since they play as Katie, a

ive (61

otophoto

a description.

Furthermore, in Gone Home the main theme of familial connections are lost through the generalization of empathy; by denouncing the use the term "empathy" we bring back the importance of the complex topics mentioned above.

topics such as compassion, sorrow, and queer entanglement

y.

outsider genre have reclaimed the term, as have we in this chapter, for its embrace of qualities that would-be insiders despise. These games deemphasize traditional active game verbs to center more passive ones, especially movement, observation, and reflection. Different verbs can tell different kinds of stories, and these games have often told outsider stories about othered identities.

Agency, then, goes beyond both participation and activity. As an aesthetic pleasure, as an experience to be savored for its own sake, it is offered to a limited degree in traditional art forms but is more commonly available in the structured activities we call games.

Agency is the satisfying power to take meaningful action and see the results of our decisions and choices.

Distinguished from the commonplace trope of an orphan discovering their destiny, t

Solnit.

nvisible illness," a.k.a. depression

n games isn't actually possible,

No description available.

If you compare the figure below with the picture on page 1 of my book yo

the reader achieves an understanding of the emotional issues that others face.

an entertaining perspective

Development Page 1 Justin

aken out of historical, political, social, economic and cultural context to paint Muslims in a certain undesirable light

mindlesslessly consuming

(con)TEXT looks at a small piece of text, modelled after a headline, and examines some of the many contexts that it is steeped in.

It describes the representations of the Islam religion that we are exposed to in media is taken out of historical, political, social, economic and cultural context to paint Muslims in a certain undesirable light

s the issue of decontextualisation, which is something imposed onto Muslims.

Jussi Parikk

silly!"

Survive the Century" and "My Coastal Futures

agency is

This creates a continuous desire to immerse themselves within the landscapes due to the discomfort that they sense

No description available.

but in reality Sunny actually commits suicide by jumping off of a hospital balcony.

.

though it is examined on the HUD and Overlays page

This explanation “degamifies” the HUD, turning it from something that takes one out of the game world, and turns it into something that pulls the player further in.

UI..

No description available

MLA citations for all referenced works

Murray, Janet. "Hamlet on the Holodeck." MIT Press, 1997.

To

bring different meanings to the table about why we feel certain ways about discovery games.

the games foster empathy and understanding, challenging players to confront their own biases and preconceptions.

ughts.”

Getting Over It, With Bennett Foddy is an interactive platformer game available on mac and windows. The premise of the game is relatively simple: the player uses a hammer as a hook to climb up a mountain of obstacles while the narrator, Bennett Foddy, pokes and prods at the player. While strange and relatively simple compared to other platformers, Getting Over It is infamous for being difficult and frustrating to play, due partially to the intentionally awkward obstacle placement and in small part to Foddy’s half philosophical half mocking comments. It is as much a test of one’s willpower and frustration as it is a test of one’s platforming skill. In this, Getting Over It is a metaphor for the struggle of life in isolation.

Mental Health Day. This is a work created on itch and created by a user called myleshouse.

This work follows our groups theme of wellness because you have to avoid feelings like stress and sadness in order to stay mentally well in this game.

The next

mainly on mental health.

"

st.

ge,

This

s. In

which bears great similarity to a real person.

In this passage, Murray argues

Looking across the open ocean into a distant horizon evokes in the player's mind ideas of possibility and journe

In order to do so, the player must make more assumptions about the fictional world while also considering the differences between reality and fiction T

The physical equivalent of the theater's fourth wall would be the screen which is the interface which allows interaction between reader and story. Though the importance of what the digital fourth wall is does not lie in its physical equivalent, but rather in its impact on reader interaction.

This image portrays how the internet isolates users with feelings of individualism, while also giving them a sense of publicity with others.

a person's imagination

format by giving the reader much more agency over the events of the story.

moving around a digital environment

people enjoy navigating the internet, discovering the different topics they can learn about with just the click of a button and observing the changes they create through affecting and moving around a digital environment

the ideas Pardeck had about th

consumers

Nair

digital forms are slowly becoming more popular than traditional books

the maze orientation where there is a single solution

Murray suggests that moving forward in adventure games elicits both feelings of success and agency in the reader.

specific choices

.

o.

process their emotions

by relating to a fictional character

powerful tool

acilitate psychological realizations

However, bibliotherapy can also be conducted with creative texts, giving readers the chance to analyse and accept their emotions and thoughts with relation to a fictional character. The bibliotherapy process involves readers progressing through stages of recognition, examination and insight into issues and feelings, and acceptance and problem solving (Pardeck, 2014).

The content that we encounter online can help facilitate powerful psychological realisations and collective change. Bibliotherapy is a broad umbrella term for any type of directed reading (fiction or nonfiction) to help with psychological issues (Sevinc, 2019). While books can be a powerful therapeutic tool, the number of people who continue to enjoy the traditional print novel is on the decline, especially amongst younger generations (e.g. Clark & Goff, 2020). There are those among us who are still voracious readers but, collectively, more time is spent on newer media forms like film, television, videogames and bite-sized videos and captions in our social media feeds.

As I move forward, I feel a sense of powerfulness, of significant action, that is tied to my pleasure in the unfolding story. In an adventure game this pleasure also feels like winning. But in a narrative experience not structured as a win-lose contest the movement forward has the feeling of enacting a meaningful experience both consciously chosen and surprising. However, there is a drawback to the maze orientation: it moves the interactor toward a single solution, toward finding the one way out.

All of them allow us to experience pleasures specific to intentional navigation: orienting ourselves by landmarks, mapping a space mentally to match our experience, and admiring the juxtapositions and changes in perspective that derive from moving through an intricate environment.

Agency is the satisfying power to take meaningful action and see the results of our decisions and choices.

In an adventure game this pleasure also feels like winning. But in a narrative experience not structured as a win-lose contest the movement forward has the feeling of enacting a meaningful experience both consciously chosen and surprising. However, there is a drawback to the maze orientation: it moves the interactor toward a single solution, toward finding the one way out.

All of them allow us to experience pleasures specific to intentional navigation: orienting ourselves by landmarks, mapping a space mentally to match our experience, and admiring the juxtapositions and changes in perspective that derive from moving through an intricate environment.

We sing along with the chorus and remain silent for the verse; we answer the singer’s “call” with the appropriate response. And we do these things in unison as a single voice.

Despite the clear potential for the use of literature and creative work to positively influence behaviour and psychological wellbeing, there is little research that examines the use of fictional bibliotherapy. The more frequently utilised and researched genre of ‘self-help’ books have been critiqued as being problematically gendered, focusing on individual flaws women are responsible for fixing in themselves, whilst not addressing the underlying social context which perpetuates insecurity (Riley et al., 2019).

The content that we encounter online can help facilitate powerful psychological realisations and collective change. Bibliotherapy is a broad umbrella term for any type of directed reading (fiction or nonfiction) to help with psychological issues (Sevinc, 2019). While books can be a powerful therapeutic tool, the number of people who continue to enjoy the traditional print novel is on the decline, especially amongst younger generations (e.g. Clark & Goff, 2020). There are those among us who are still voracious readers but, collectively, more time is spent on newer media forms like film, television, videogames and bite-sized videos and captions in our social media feeds.

While there is growing evidence that online media is harming us, we need to move the focus toward creating research and creative solutions that reimagine the stories being told online.

Also, based on the origin of the game, Anthropy reveals the hypocrisy in what they did by trying to pander to the LGBT community through spoofing said game. 

This screencast displays the animation features i

: episodic and semantic memories.

poetic response to DuPlessis's essay.

).

Really all the different pieces of text and media are all fragments to construct the greater work, all of which provide as the source of violence throughout the story that the reader has to endure.

I see

he player is able to understand Theodora's experience and gain a perspective on the struggles caused by autism. 

and is typically considered to not be a proper video game.

losing grasp

erge Bouchardon and Vincent Volckaert's "Loss of Grasp" (2010)

Hazel Smith's "Motions" (2014)

The player/reader becomes very accustomed to the format of linked phrases leading to ideas. Thus when they reach the ending and are given a true choice between links, they are surprised by the new organized format of the links and the fact that they are actions, not simply ideas. This changes the player/reader and helps them infer that the final decision is important.

as its own shock value, for whatever  that’s worth.

To play this story. Click Bogeyman above.

The Escape element of "Paranormal Interactivity" will be recreated within this electronic literature book. So, you will have to pay attention if you wish to escape.

society.

When Waddell uses such intense scenes and places them in hidden locations, he plays with the way the reader interoperates and interacts with the game. In a playthrough in which the reader never discovers the backstory, the animals seem to hold the greatest fault for the broken relationship, and the motifs that are written into main scenes providing a hidden bridge to these backstories, are unnoticed. Some scenes in which the darker nature of humans is revealed quite boldly, can even seem to be an exaggerated reaction to a different event based on what the reader has discovered. One example of this being the feeding of a classroom pet.

this story begins with a human sacrifice—an issue that, as Meadows mentions on page 24 of Pause & Effect, is something universal

ne could easily pity Karen's father because of his war-inflicted hearing problems, but doing so would belittle Karen's experience as a person subject to his abuse.

The whole experience is less about the story, and more focused and interested in the player’s usage of their freedom to progress the story.

As Case concludes, “Our problem today isn't just that people are losing trust, it's that our environment acts against the evolution of trust.”

this concept

The addition of being able to converse with the game’s characters in some way makes every playthrough feel different, and overall makes Façade rather unique.

.”

-such as JackSepticEye and Brutalmoose-

One of the floating stanzas scattered throughout the virtual world

The author’s specific use of such poetry is used to make a claim regarding the antiquity of traditional writing. Th

the concept of loss and this image helps to underline the idea of loss of self. This concept is portrayed simply by the reader’s initial position, they are placed in an unknown environment with no explanation to how they got there and they are surrounded by stanzas that convey little meaning but hold fragments of a story.

seen strewn all around the player.

With each transformation the avatar loses more and more of his physical self. 

Loss of Individuality PreziYoliztli Lopez

r. 

Contrast is the difference between elements, where the combination of those elements makes one element stand out from another.” Th

This Is How You Will Die' attempts to highlight the randomness that is characteristic of death; instead of predicting how we might die or worrying about it, we might as well mash together  random ways one could die so as to create one coherent story. T

Nelson strips away this comfort with great effectivity and pessimism while unsuccessfully attempting to hide this dark basis behind this piece of e-literature.