Group project summary, by leader Guadalupe Godinez
Gone Home is a first-person exploration video game, or interactive exploration simulator as described on Steam, developed and published by The Fullbright Company. The game opens up to you standing in front of the doorway of your house, having just arrived from a trip abroad to a dark and empty home on a rainy night. The beginning of the game introduces exploration and looking for clues as its main mechanics to enter the house and progress further into it and figure out where everyone has gone. As the character, you can interact with objects, pick them up and inspect them, walk around, basically everything you should be allowed to do in your own home. The main story in the game is you should look around the house and figure out where your family has gone. Meanwhile, the atmosphere stays uneasy with tension throughout your journey.
Two weeks ago, I taught Gone Home (The Fullbright Company, 2013) for my “Frames, Claims and Videogames” course. I hadn’t played the game in quite some time, so, in the run-up to the course, I re-played it, searching through the house exhaustively, reminding myself of where every last note and prop was, re-acquainting myself with the ins and outs of everyone’s story. Taking some notes, it occurred to me that it would be nice if there was a guide to it online. Not just a guide to picking up all of the items that give you achievements, or something like that—there are plenty of those online, already. Rather, a guide to the stories Gone Home tells, and where exactly you can find the environmental elements that move those stories forward, and flesh it out.
Well, I guess it falls to me to create what I’m looking for. Again.
My guide to Liz Ryerson’s Problem Attic (2013) was just a walkthrough. This is a bit more, as I have specifically designed it to aid in things like class prep and analysis. It isn’t, by itself, analysis, but tends closer to that direction than the Problem Attic one does. (I’d place it roughly in the realm of my Virginia videos.) Enjoy!
I spent the first week of 2017 catching up on things I hadn’t played from 2016. But all play and no work makes Ian a dull boy, so it’s time to get back to writing, even if it’s of the casual sort.
Fair warning: In this post I’m going to dip into some unapologetic formalism as a way of best expressing some otherwise entirely subjective reactions. Obviously, there are pitfalls to this. Formalism puts off some. Unabashedly subjective attempts at criticism puts off others. But, whatever—this is my blog, and sometimes I like to post things that aren’t lesson plans. (Also, a note: I’m going to have fewer of those posted in the foreseeable future. I’ve posted most of my best lessons from past courses at this point, and I’m only teaching one class this term, one I’ve taught before.)
Below the fold, I play with some vocabulary, and offer thoughts on three more interesting games of 2016. These are short takes, and it is quite likely that I will be writing more on some of these in the near future.
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.