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Monday, Nov. 12

Monday, Nov. 12. Undergrads: Gameplay Reflection due next Monday (11/19)—must be a game we have played as a class; make an argument connecting game to reading or class discussions

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Monday, Nov. 12

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  1. Monday, Nov. 12 • Undergrads: Gameplay Reflection due next Monday (11/19)—must be a game we have played as a class; make an argument connecting game to reading or class discussions • Grad students: Paper extended to be due on Sunday by noon. Paper #6 canceled; send me rough draft instead (optional) • Does anyone have StarCraft II? EVENTS • Video Game Night, Friday, Nov. 16, 6-9 pm, Cox Computing Center—PLEASE PUBLICIZE • Extra credit events: Claire Denis, Wed. 7:30 pm or Thurs. 6 pm in White Hall 208

  2. Ian Bogost, “Disinterest” • “By making firearms boring, NRA Gun Club might actually perform the rhetoric many have previously laughed off as politicking and fabrication: the responsible handling of firearms” (137). • “A murder simulator ought to revile us, the more the better. If anything, trivializing death and torture through abstraction is far more troublesome than attenuating it through ghastly representation. Torture Game 2 fails not because it makes us feel pleasure but because it makes us feel nothing, or not enough anyway, about the acts it allows us to perform. We should simulate torture not to take the place of real acts but to renew our disgust for them” (140).

  3. “Far Cries,” by Tom Bissell • SHOOTER AS THE VIDEO GAME: “Any debate about video game violence will almost inevitably become a debate about shooters. To many who oppose the video game, the video game is the shooter: A more assailed game genre does not exist. To fans of the shooter, the shooter is the video game: A tighter, less sororal game subculture does not exist.” (130)

  4. “Far Cries,” by Tom Bissell • SHOOTERS AND THE MILITARY: “Whether these games enhance actual fighting competence is doubtful, but there is no question that shooters train those who play them to absorb and react to incomprehensible amounts of incoming information under great (though simulated) duress” (132). • “the presumed benefit to flag or country … is the detergent many shooters use to launder their carnage” (133) • “Did the shooter allow these Marines some small, orchestrated sanity within the chaos of war?” (133) • “I sometimes wonder if shooters are not violent enough”—LOOK AT PAGE 134

  5. “Far Cries,” by Tom Bissell • ON FAR CRY 2: “I felt a kind of horridly unreciprocated intimacy with the man I had just burned to death. … The game may reward your murderous actions but you never feel as though it approves of them, and it reminds you again and again that you are no better than the people you kill. In fact, you may be much worse.” (143-4)

  6. “Origins of the First-Person Shooter,” by Alexander Galloway • “In film, the subjective perspective is marginalized and used primarily to effect a sense of alienation, detachment, fear, or violence, while in games the subjective perspective is quite common and used to achieve an intuitive sense of motion and action in gameplay” (40). • “predatory vision”: The Silence of the Lambs, The Terminator, RoboCop

  7. “Origins of the First-Person Shooter,” by Alexander Galloway • “computerized visuality… is no longer about light but is instead about space” (63). • “gamic vision requires fully rendered, actionable space” (63). • “Certainly some of the same violence of the filmic first person lingers… [but] it is the affective, active, mobile quality of the first-person perspective that is key for gaming, not its violence. Unlike film before it, in gaming there is no simple connection to be made between the first-person perspective and violent vision.” (69)

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