This page is referenced by:

• 1 2024-11-05T19:07:10+00:00 Immersion and Design Work 8 plain 2024-11-09T16:08:20+00:00
  Build a scalar page in which you discuss how the interactive work immerses its player/reader.  
  • Use (and cite) the idea in the assigned quotation to prompt your discussion. 
  • Include and analyze at least 2 images from the image bank. 
  • Try to use some principles of rhetorical analysis (audience, purpose, context, design) to help you make your case (see Writer/designer handout on Canvas). 
   * * * * *

  1. Group 1: “C ya laterrr” and Murray

  “A good story serves the same purpose for adults, giving us something safely outside ourselves (because it is made up by someone else) upon which we can project our feelings. Stories evoke our deepest fears and desires because they inhabit this magical borderland. . . . we have to keep the virtual world "real" by keeping it "not there." We have to keep it balanced squarely on the enchanted threshold without letting it collapse onto either side. (Murray 99 – p 2 of pdf)

    

  2. Group 2: “Motions” and Murray

   

  When we enter a fictional world, we do not merely "suspend" a critical faculty; we    also exercise a creative faculty. We do not suspend disbelief so much as we actively create belief Because of our desire to experience immersion, we focus our attention on the enveloping world and we use our intelligence to reinforce rather than to question the reality of the experience. (Murray 110—p.7 of pdf)

   

   

  3. Group 3: “C ya Laterrrr” and Frasca

   

  Instead of being "inside the skin" of the character, he encouraged having a critical distance that would let them understand their role.

  Brazilian dramatist Augusto Boal (1971) took Brecht's ideas even further by creating a set of

  techniques, known as the "Theater of the Oppressed"(TO), that tear down the stage's "fourth wall." Boal's main goal is to foster critical thinking and break the actor/spectator dichotomy by creating the "spect-actor," a new category that integrates both by giving them active participation in the play. (88)

   

   

  4. Group 4: "Motions" and Murray

  “This is why the process [of the forum play] is repeated several times, always offering a new perspective on the subject. In Boal's (1992) own words: "It is more important to achieve good debate than a good solution." It is central to stress that Boal uses theater as a tool. not as a goal per se. In other words, the ultimate objective of Forum Theater plays is not to produce beautiful or enjoyable performances, but rather to promote critical discussions among the participants. Unlike traditional theater that offers just one complete, dosed sequence of actions, Forum Theater sessions show multiple perspectives on a particular problem.” (Frasca 89)

  
   
• 1 2024-11-05T18:37:26+00:00 Group 3 working with immersion 7 Francisco, Ugo, Kyle, Giorgi plain 2024-11-05T19:06:52+00:00
  
  
  
  
  By integrating choice in "c ya laterrrr," Dan Hett embodies the participatory element Frasca discusses in the essay "Video games of the oppressed."  
  • Relate how the choices the player makes in the game do not affect the story directly but they are still given the ability to choose an response.
  • The choices in the game don't allow the player to choose only whether to finish the game faster or not.
  • Ending is already determined so the player is allowed to focus on the rules and procedures needed to get to the ending.
  • Player is told there is one path that is what actually happened but they are still allowed to explore all the different possible paths and reactions.
  • Frasca discusses critical thinking that comes from being separated from the events instead of being fully Immersed. The player is allowed to think critically in the game because the choices only slightly affect and the player is not directly involved. The choices are not impactful because they all eventually lead to the same path.
  
  
  
  

  Instead of being "inside the skin" of the character, he encouraged having a critical distance that would let them understand their role.

   

  Brazilian dramatist Augusto Boal (1971) took Brecht's ideas even further by creating a set of

  techniques, known as the "Theater of the Oppressed"(TO), that tear down the stage's "fourth wall." Boal's main goal is to foster critical thinking and break the actor/spectator dichotomy by creating the "spect-actor," a new category that integrates both by giving them active participation in the play. (88)