Let’s Study Half-Life 2

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!

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Lesson Plan: Skill, Perception, and Epiphany across Cinema and Videogames

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Ian here—

What follows is a lesson from my 2013 course “Comparative Media Poetics: Cinema and Videogames” at taught U Chicago. On the docket for this week: displays of intelligence and expertise in cinema (from Buster Keaton films to contemporary action cinema), and the ways in which the needs for interactivity force a very different visual style in games than we see in contemporary cinema.

The screening/play-session hybrid that lead up to this class included clips from The General (Buster Keaton with Clyde Bruckman,1926), College (Buster Keaton with James W. Horne, 1927), Casino Royale (Martin Campbell, 2006), and The Bourne Ultimatum (Paul Greengrass, 2007), the latter of which is our primary concern here. It also included students playing portions of Uncharted 3: Drake’s Deception (Naughty Dog, 2011) and Mirror’s Edge (DICE, 2009). Readings for the week included selections from Noël Carroll’s book on Buster Keaton Comedy Incarnate, and a chapter from James Paul Gee’s book Why Video Games Are Good for Your Soul.

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