Part 5 is up!
Parts 1 & 2 were adaptations of existing material—namely, the first chapter of my dissertation, and this lesson plan. Parts 3 & 4 consisted mostly of newly-generated material. Part 5 returns to being an adaptation of existing writing—this time around, this blog post.
I had to scale back my ambitions for this particular video. Originally, it was going to feature a tour through some .OBJ outputs of the coastline maps, following in the footsteps of Robert Yang’s visualizations. Everything was going smoothly for awhile: I successfully extracted all the necessary textures with GCFScape, successfully opened the maps in Crafty, and got myself an education license for Maya. But try as I might, I just couldn’t quite pull off the trick that Yang did, and get the textures to affix to the .OBJ files. (He kind of glosses over that crucial step the blog post.) All I could produce were textureless grey blobs of level geometry.
So I fell back on a tried-and-true method of compositing a bunch of noclip screenshots in Photoshop. In addition to not having that cool 3D model look, it was also an enormous time sink, though, and slowed me down a lot. C’est la vie, I suppose.
Script below the jump.
For the past couple of months, I have been hard at work at a new “Let’s Study,” the most ambitious so far. It’s for Half-Life 2, and I foresee it being spread over seven parts. Part One: Linearity is now posted.
There’s a lot of material in this particular Let’s Study adapted from the first chapter of my dissertation, as well as material I developed when teaching the Half-Life franchise in class (including this lesson from my “Comparative Media Poetics” course). My first “Let’s Study” was just a playthrough with some commentary and a bit of b-roll; for this particular series I’m really leaning in to the video essay format more, trying to create shareable versions of what are basically class lectures, or conference presentations. This particular series is still geared very much toward a general audience, but I’m using it as prep for potential future adaptations of dissertation material into video essay format for submission to a genuine peer-reviewed academic video essay journal.
As usual, the script is below the fold. Part two coming soon!
What follows are three quick case studies on a favorite topic of mine: the knowledge differential, or epistemic gap that can sometimes open up within the player-avatar relation. I find all three of them fascinating for the questions they raise about narration in videogames, as well as the alignment between player and player-character.
What follows does not yet qualify as analysis. This is simply a critical appreciation of a few moments that have made me think. Perhaps it will act as a prolegomena to further, more properly analytical, writing.
What follows is a two-part post, combining lesson plans from two separate days of my course “Comparative Media Poetics: Cinema and Videogames,” which together formed a week I referred to on the syllabus as “Point of View, Staging, and Guidance.”
There are many different entrance points for a class organized around the relationship between cinema and videogames. Contemporary popular genres are an obvious choice—and one that, in fact, formed the backbone of many weeks of the course. This week, though, I stretched past those boundaries, and crafted a lesson plan that was grounded more in a comparative look at each medium’s history.
The first of these lessons is primarily a lecture, which sets up a course screening/play session. The second lesson is a post-play-session discussion.