Team Build: Super Trump Man

Super Trump Man Story Board

Team Members: Jon Del Conte Allison Williamson Drew Stanke

Super Trump Man is a 2D sidescrolling action platformer. The game serves as a parody based off of the 1985 Super Mario Bros released on the Nintendo Entertainment System (NES). The player will play as the character Trump, who will embark on a journey to rescue Princess Putin. Like Mario, Trump’s primary method of defeating enemies is jumping. In addition to this, in-game power-ups will be available as the player advances to help enhance game play; a can of Hairspray will grant helmet hair and allow the player to be hit once without dying, similar to a mushroom in Super Mario Bros.; a stack of Money will allow Trump Man to throw balls of money to defeat mobs from a distance; and a Red Hat (Make America Great Again) will grant temporary invincibility. With these skills, Trump will work his way through nine worlds to fight the final boss in Washington D.C. The game is an adventure intent on satirizing the current political shift in American politics.

In order to reach the broadest and fastest growing market (Mobile Games 340), Super Trump Man is intended to be released for mobile devices. By being on mobile devices, players will easily be able to share their high scores, various other statistics, and achievements on social media. By adding a scoring system this will make Super Trump Man a non-zero-sum game (Game Theory 212) which will help to encourage community and competition among players. Super Trump Man is a action game (Game Genre 204) which includes fast paced challenges and will require the player to have a keen eye and quick reflexes.

A wide variety of NPC mobs (NPC 363), inspired by the multitude of people Trump has insulted and stepped on to reach his new position, and mini-bosses (NPC 363), inspired by political rivals and political opposition, must be navigated past or defeated in the same style as Super Mario Bros. Through and overworld map, players will be able to freely choose which levels in the game they complete in order to open up mini-boss fights. After the player defeats a mini-boss the heroic epic style narrative (Plot Types and Interactivity 395-6) of the story will continue to progress.

The use of 8-bit graphics will help to create a retro tone and feel in of the game that pays homage to the original Super Mario Bros. Additionally, this artistic style (Games as Art/Literature 220) provides a deeper level meant to satirize Trump’s calls to take America back to an unspecified time in history when it was great. Super Mario Bros marked a revival of the video game industry following the first “Great Crash” (Game History 210) much as Trump wants to be America’s revival.

Game Reviews

Warcraft III

Warcraft III is set in medieval times and pits humans versus orcs in a battle for supremacy. The game is a real time strategy game where the player builds buildings and troops using different resources such as food, gold, and lumber. The player uses units to explore the map in order to find an enemy base and defeat them. In the single player mode, there is a story told across four races. In multiplayer, players compete against each other to gain rank on the global ranking ladder. The lore and narrative later is the developed into the MMORPG World of Warcraft. The complexity of the game shows through the different resource management systems and tiered unit and building. The fact that it all happens in real time makes the game quite hectic in the fact that the player needs to do multiple tasks all at the same time. The game allows players to take control of fantastical armies of warriors and creatures all the while giving each player micromanaging skills. Each of the four races that are included in the game all have unique units that have varied skill sets that allow the player to devise strategies based around the strengths and weaknesses of each respective race. This provides for much nuanced game play throughout the multiplayer experience.

The Stanley Parable

The Stanley Parable is an exercise in gaming metacognition. The game is a first person adventure game where in the player plays as Stanley  a character who is guided by the narrator who gives the player specific instructions. The narrator gives the player instructions but the player is entirely free to disobey these guidelines. The narrator guides the player through the story through his very specific suggestions. The game serves a parallel to the pressures and stresses of office life and how one should do what they are told. Just as with gaming, the player is free to play the game as they are told or they can do just about whatever they desire. There are multiple endings within the game that are achieved through interaction with different cues within the different rooms throughout the office. The game really pushes the concept of authorial intent versus player agency. The player can progress through the story and receive a standard ending or they can push the limits of the game through disobedience and receive a plethora of different endings. The game rewards players for exploring the entire office and obtaining the many endings the game has to offer.

KOTOR

Knights of the Old Republic is a Star Wars role playing game. There is plenty of lore concerning the relationship between two Jedi. There are plenty of customization options for player creation. There are plenty of mentions to Star Wars including the player becoming a Jedi. The player is given a choice as to what powers they use. There are light and dark powers which are unlocked through the moral system in the game. The morality in the game is rigid but is allows the player to choose in order to gain the powers of each respective side. The combat in the game occurs through the selection of different weapons and the player also is given the choice to talk their way out of a fight. The companions in the player’s party are essential to success. Dialog occurs through the decision among three lines that dictate different moral paths. Each of the decisions gives the player points to either the light side, the dark side, or a neutral answer with no specific bias. The game encourages exploration and multiple playthroughs as there are multiple classes and nuanced paths that the player can take.

Limbo

Limbo is a curious and clever challenge steeped in terror. The game is a 2-D puzzle platformer in a horror skin. The game begins as the player takes control of little boy in an entirely unknown location. As the player progresses through this creepy forest like location, many indications of danger and horror prompt the player for escape. In order to escape, puzzles must be completed. The aesthetics for the game are entirely in black and white giving off a mysterious and creepy noire-like setting. The game also has no load screens and is seamless in its transition from area to area in order to increase player immersion in the dark and curious world. The more the player progresses the more difficult each puzzle gets. Failure of these puzzles usually results in some form of gore involving the player avatar. This creates a truly visually disturbing atmosphere that is consistent throughout the entire game. The eerie atmosphere of the game is accompanied by an even creepier soundtrack full of disturbing sound effects. The immersion in the game is its strongest feature as the visuals and sounds combined with difficult puzzles gives the player a sense of tension and anxiety that every horror game should provide.

Dark Souls

Dark Souls is a journey through hell itself. The game is an action RPG, dungeon crawler in which the player takes control of a character trying to get through a dungeons and defeat various monsters that get in the way. In order to defeat these monsters of ever increasing difficulty, players must collect better equipment and spells to overcome the challenge of these dreaded beasts. Each play style is dictated by the equipment and spells that one acquires and every weapon feels different in the game. The game is extremely difficult and players will die in the game a lot. This serves as a teaching experience to every player as the reasons for death are all about changing up the approach to defeating the bosses within the game. Another central part of the game involves the bonfire. Bonfires serve as central hubs that allow the player to transport to different areas and restore health potions. There is also a multiplayer aspect in which player can invade each other’s games and help each other defeat the certain area at hand. The almost sadistic nature and challenge the game provides serves as both its greatest strength and weakness.

Journey

Journey is a beautiful game. The game is a puzzle platformer with extremely simple mechanics and a narrative with very open interpretation. The game is simple as its only controls are buttons to move around, jump, and interact with things within the environment. As the player progresses through the vast desert in which the game takes place, interaction with little creatures upgrades the player’s jumping ability. By upgrading this ability, new areas become reachable thus progressing the story of the game. There is also a multiplayer aspect of the game where the player can bump into others randomly within the world. Players can then help each other solve the simple puzzles that prevent them from moving forward. The game absolutely aesthetically and sonically pleasing. The visuals in the game are simple and elegant that truly push the limits of what in game visuals can be. The soundtrack also accompanies the game’s moments and reveals perfect as the score matches the tone of each revelation throughout. The game is extremely short which encourages multiple playthroughs. Each playthrough can be very different as the multiplayer aspect and the huge world to explore will allow for much nuanced gameplay every time.

Bastion Parallel Play

Partner: Stephen Daguio https://daguio108gaming.wordpress.com/

What is the purpose?

The purpose of the game is to collect cores throughout the multiple levels in order to rebuild the player’s Bastion and learn more about the world and how and why it has ended. The player can also complete different challenges which have different rewards upon completion. These rewards can then be used to upgrade different weapons to help pass levels more easily.

What is the intended outcome?

The intended outcome of the game is to get each level’s core in order to rebuild the Bastion entirely thus understanding the end of the world and rebuilding a new world.

What are the rules?

The player character travels through levels with different weapons in order to find the core of the level and escape the level. Each of these weapons have a unique characteristics pertaining to nuanced damage, range, attack speed, and the like. These weapons are upgrade-able. Certain weapons also have rewards of higher damage for the player using them more skillfully. The player character has a certain amount of health and it decreases as the player is attacked by enemies that are scattered throughout the level. The cores of each level allow the player to unlock a part of the Bastion that helps the player on their quest to complete the Bastion. There are buttons that correspond to each weapon. There is a button to heal. There is a button to defend yourself with your shield. There is a button to dodge. There are also buttons to move in eight directions. When the player’s health is depleted the game gives player two more retries. After they are used up the player is transported back the Bastion as it serves not only as a place to better your character and weapons but as a hub between levels as well.

What happens?

Stephen starts off collecting items from different characters specifically Zulf and Rucks and each item reveals a little bit about the post apocalyptic world of Bastion. He then travels throughout his Bastion in order to upgrade his character and weapons. He checks on his weapons to make sure he has the correct load out. He then restores part of his Bastion with a shard acquired from a previous level. He build the lost and found which serves as a kind of shop in game. He uses the skyway and flies to Cinderbrick Fort to the start of a new level. He use his War Machete and Fang repeater in order to dispatch a few minor enemies. He courses through the level and is hit multiple times by bigger Windbags but effectively defeats them with his repeater. As he goes through the level he destroys nearby debris for in game currency and items. He explores every possible path of the map. He acquires the Scrap Musket and plays around with it to destroy more nearby debris. He uses it to destroy multiple enemies as it is a weapon with a wide spread range and high damage. He dies to a strong Windbag but uses his retry to revive himself. He finds and armory and switches out his musket for his repeater. As he explores every path he finds plenty of treasure and items. He finds the shard for the level and is greeted by plenty more powerful enemies that cause him much damage. He has trouble beating spinning Windbag but is successful in defeating it. He faces multiple iterations of the enemy that gave him trouble. He defends himself with his shield. He makes use of his secret skill a boomerang to get rid of some obstacles. He uses his shield to reflect plenty of turret fire. He reaches the boss of the level an even bigger version of the Scumbags that were giving him trouble. He uses his repeater and shield to defeat them. He roams around the boss’s lair to pick up and spoils and uses the skyway to return to the Bastion.He uses the shard to restore part of his Bastion.

House of Leaves as a Simulation

House of Leaves is more of a simulation than a narrative due to the many its many features of being interactive. While the novel is definitely has a story, it serves more as a simulation because of how it is written. The novel serves as a simulation as to how the characters, specifically Johnny and Zampano, obsessively research and analyze cryptic media in order to find the truth and meaning behind it all. Throughout the novel, readers are able to analyze vast amounts of footnotes that leave only more questions than answers. Just as with the characters in the novel, the more that is revealed, the more curious the analyzed piece becomes. While this may be true, it certainly is a valid strategy to trying to understand the entire thing. According to Aarseth’s Genre Trouble, “In simulations, knowledge and experience is created by the player’s actions and strategies, rather than recreated by a writer or moviemaker.” (Aarseth) By deciding whether to read the the footnotes and appendixes, readers, or rather players, are able to decide how much they want to know and experience through analysis of these extra bits of information. According to The John Hopkins Guide to Digital Media there are three core components of gaming. House of Leaves is more of a simulation than a narrative because of its inclusion of all three of these components. Players compete against the uncertainty presented within the novel by trying to understand everything completely. It is entirely up to the player on how much or how little they intend to learn about the novel. There are many strategies that they can use in order to gain this knowledge. They they go about reading everything or only the main bodies of text will affect the how the player perceives the outcome of the novel. These different outcomes can be viewed as different kinds of payoff for every player. How players perceive the novel and its underlying meaning serve as a unique payoff to every player. These concepts show that while House of Leaves is a narrative in every sense, it should be considered more as a simulation due to its reader/player interactivity and multiple payoffs.

Get Lamp Summary

The documentary, Get Lamp, is a compilation of interviews detailing the history of text adventures. The documentary is shown to a group of individuals during a Google Talk presentation hosted by the filmmaker, Jason Scott. True to its content, the play menu allows the viewer to choose between an interactive and a non-interactive version of the film.

The film opens with an introduction of the media, describing text adventures as an immersive interactive game that allows players to dictate the outcome of the game depending on the decisions they make. It focuses on creating an image within the player’s mind, purely with text, as opposed to using visuals. The freedom of choice lured players to the game. Players were awestruck at this new media. They were drawn to the narrative they could control, and text adventures soon became the gaming sensation of the 70s, leading to the birth of several companies, such as Adventure International and Infocom.

Adventure International was the first-known gaming company that sold and kick-started computer games, particularly text adventure games.

One of the first text adventures, “Adventure,” created by Crowther and Woods is mentioned in the beginning of the film. It is a game about cave exploration. It was drawn from Crowther’s personal experience as a caving enthusiast. The cave used for reference was a “mammoth cave” called Bedquilt. With the help of Don Woods, the game was expanded upon. With simple text commands, a player could be controlled to maneuver through the cave and acquire the wealth laid throughout the map.

It inspired the creation of “Zork” which improved upon the framework of “Adventure” by allowing players to input complete sentences.

The gameplay of text adventures was further explained and was most described as “playing a book” more so than playing a game. The puzzles were so complex, as it encouraged players to note their findings and share it with others. The game’s ability to be both a solitary game and a “team sport,” as one interviewee stated, also added to its allure.

However, the documentary also touched upon the negative aspects of the game. Because the game could not fit the entirety of the human language, there were certain actions that could not be accounted. Because some actions could not be taken, this took away from the experience for some players, especially newcomers. Certain aspects of the game also caused frustration to experience text adventure players as well. Mazes were described as a way to burn time and add more hours of playability; but, it was not seen as an enjoyable part of the game.

Because text adventure games relied on narrative and complex conflict resolution skills, scholars recognized its potential as a medium to be studied academically. Though her doctorate was in German Literature, Mary Ann Buckles wrote the first academic paper on video game aesthetics, which to this day remains a highly cited paper in video game studies.

Text adventure games would not sustain their popularity. As time went on, companies that were prominently text adventure game based, began to close in the 90s. The rise of graphics within video games has instilled the assumptions that video games need visuals.

Text adventure games, or as they’re known as now, interactive fiction allows players to make their own decisions and the story at their own pace and direction. Though their popularity has waned, there is hope yet for the interactive fiction. As one interviewee stated, saying text adventures have died is like saying books died with the rise of movies. With the Internet, the use of text is being revived, and it may be sooner rather than later that we will see a popular interactive fiction game once again.