Reflection of Wolf In White Van

Reading and discussing about Wolf in White Van by John Darnielle opened me to new perspectives that people may have about how they view their lives and the world around them. Imagination and creativity has always been a great ability to have, even more so in today’s ever computerized and digitized information age, however, Sean Phillip’s situation argues that the latter may not be so bad. Having the ability to imagine and envision a world which is not shared by everyone is a great aspect to hold, as long as it does not consume oneself and distort their life, as what happened to Sean.

In reading, writing, and discussing about Wolf in White Van, I reflected and gained insight to my own perception of reality. I must say though, this book brought to me more questions than answers as to what one may perceive reality to be, if their perception to reality can be considered either true or false, and what one should hold as their acceptable reality.

The final version of my full argument can be found here.

Featured Image can be found here.

Wolf In White Van: Driving Idea Behind the Argument

In my analysis of Sean Phillips in John Darnielle’s novel, Wolf In White Van, I point out Sean uses his imagination and his role-playing game, Trace Italian, as a distraction to solve his inner emotional problems, as opposed to solving to them. Many will agree that Sean did not properly handle his situation, while others will disagree in saying that his fantasies were the only way to cope with his depression and isolation. However, beyond this small argument, I believe there is something deeper to consider.

In the middle of the Sean’s telling of his story, he shows signs of trying to really solve his own problems by reflecting upon his thoughts and motives before the accident. Yet, as so much time has passed of denying/coping with his problems, whichever you may argue, Sean can no longer identify with his past self – “that younger man was dead” (71-72). Wolf In White Van demonstrates that one can only deny or cope with their problems for so long the core issues of our lives catch up to us and remind us of our pain. These issues must be dealt with, head on, with courage and humility or else they will consume us and take our lives away from us. In the end, Sean Philips took his own life.

You can read my full length argument of Wolf In White Van here.

Featured Image Credit:

  • The photo belongs to username BMclvr, of Flickr, which can be found here.

Kentucky Route Zero: Act II, Free Write

In the middle of playing Act II, I had almost forgotten the mission of Conway and the group. Conway is simply a delivery man, trying to ship his company’s product, yet, he has gone through a lot of struggle to be doing something very simple. He even almost lost his own life and is currently hurt, really bad. I am surprised that he continues on this journey. For him, it must not be about the money. It is out of the knowledge of the game, but it highly unlucky Conway’s company provides health and security insurance for him and his troubles. The misunderstanding of the Doctor’s delivery address is a huge error that caused many unnecessary problems.

Reflection of Composing FIFA Podcast

Constructing my first ever podcast with my co-producer, Jay Kim, we decided to work on all aspects of the podcast together, as opposed to splitting work up. Since we shared many of the same ideas and motivations for the project, collaborating with Jay was very easy.

The idea of producing a podcast for the internationally recognized title, FIFA, came very naturally to my co-producer and I. With soccer having a very prominent and central role in cultures outside of the U.S., this idea came naturally knowing that Jay is from Korea and my family is from Mexico. Furthermore, with the previous podcast incorporating sound in the background, “Doing Video Games with … Reverence”,  we thought FIFA would be the perfect game title to explore Music, one of Ian Bogost’s characteristics of games, Since we both had spent countless hours playing this game growing up, we felt that we would be able to free flow our podcast and speak freely about the music. As a brainstorming process, this allowed us to be very creative and talk about what we like and didn’t like about FIFA, more-so like. However, the time restraint in which we had to present our game, our message, and our argument, we realized we had to broaden our scope in order to still have our audience engaged, entertained, and informed.

For Jay and I, we first thought it would be difficult to construct an argument that suggest something new and wonderful to the world. It came as a surprise to us that Ian Bogost, the author of “How To Do Things With Video Games”, disagreed with the idea that video games have the ability to connect people from different cultures and eras. This idea is clearly debunked when knowing that many of the songs in FIFA’s soundtrack are played in soccer stadiums before and after matches and that music shared between countries and languages brings similarities between very different cultures. What seems very strange for Ian Bogost came very naturally for Jay and I.

A natural obstacle that arose for us with the production of the podcast arose when it was time to record and edit within the software program, audacity. Previously, I had some experience using audacity, therefore the learning curve was not quite as steep. However, our biggest issue came when trying to improve the sound quality of our podcast. 145082048_a17a1c7f0f_o

Co-producing this podcast with Jay turned out to be a fruitful experience leaving me with several key things to take away from. Firstly, I understand more that, even for projects other than writing essays, the organization and refining of ideas still applies the same, especially when more than enough ideas are present. In the process of creating this podcast, Jay and I met several times with our Professor to discuss about what we found interesting in FIFA and the different avenues we could explore. Even during hours of recording, there was still refinement and clarification taking place. We made several retakes of recording in order to try to emphasize on specific points.  What I am most proud about our episode was that we were able to incorporate music throughout our podcast in a way that was balanced yet powerful. More-so, Jay and I were able to evenly split our talking time and contribute evenly about our thoughts on the game.

The FIFA podcast episode along with the “Read|Write|Play” series can also be found here.

Image Credit: Username “Dong” from Flickr

Fiasco: The Role-Playing Game Where Stories Are Made

If you are from the millennial generation like myself, most likely you have never heard of the game Fiasco. The game is unlike any other you have most likely played recently. Fiasco is not played with a console controller, mouse/keyboard, or electricity.  Now, you are probably thinking Fiasco is a board game. You know, one of those games that comes in a cardboard box, you choose a game piece, and you try to make it from start to finish before everyone else. Surprisingly enough, Fiasco is not one of those games either. Fiasco is a unique game where, instead of playing and following a given path, you are placed in the seat similar to that of a game designer. As opposed to consuming stories, you are now creating them. And not only are you creating them, you are creating them collaboratively within a group of three-to-five people. Fiasco gives you a template of fundamental story qualities such as settings, location, plot twists, events, objects, and a tone to guide how stories should pan out. Your story, and more so your experience with the game, primarily depends on your willingness to contribute your personality, creativity, and style to the group.

Set in a suburban area, I, Silly Sam (Nick), was a long-time drug dealer with Frank (David). I lived in a white van with no wheels and had bad blood ties with Sigmund Freud (Brian), a brutal and ethical cop who held qualities similar to that of Commissioner Jim Gordon from Batman. When setting up the fundamentals to the story, each of us were completely open with each other about our character’s personality, habits, and intentions. Having picked qualities of romance, death, cops, and drugs, each of us quickly came to realize that our story was going to share many similarities with that of a Mexican soapopera. By the end of the game, drug deals went wrong, people went to prison, people got out of prison, good cops struggled with internal corruption, romantic relationships turned bad, betrayal occurred, people died, and once again, people went to prison.

One way in which my experience playing Fiasco was similar to other RPG games was that decisions had to be made and my personal objectives were constantly changing. However, unlike a vast majority of RPG games I have played, my focus with Fiasco was not really about winning or loosing. It didn’t matter to me that my character did not become the drug lord of the era and instead ended up in prison.  In retrospect, I now realize I consistently made choices that were perfect opportunities for me to be betrayed. This may be because in reality, I try to trust others and network of people as much as possible. This lead me to making a poor choice of seeking Office Sigmund Freud (Brian) in hopes of gaining his companionship. As a result, I was sent right back into prison. But in the end, in the scope of playing Fiasco, these mistakes were alright because they contributed to an exciting and thrilling, dramatic adventure.

Throughout the collaborative story making process, I was more concerned about my overall contribution of substantial creative ideas of impossible, dramatic, yet entertaining events. As we played, I imagined that scenes in my head and was more concerned with if our story would also prove interesting to my group members and others who may visualize our story through a T.V. show or movie. Playing Fiasco built upon my exposure and experience of composing and creating within a group. In our collaboration of creating this story, there was a big disconnect between how we  wanted the story to turn out initially and how the actual decisions we made took us further from that realization. We were all a little disappointed and shocked that the story had not turned out to what we wanted it to become. I think that, although we had a similar end goal in mind, our small variations in vision, the friction and bouncing off of each others ideas, and the pulling of trying to come back to our own realities, created a widely different story than of us had expected.

Featured Image Credits: Art from one of Fiasco’s playsets. Image found on Flickr account “oneseven”. 

Wolf In White Van Response

In John Darnielle’s novel, Wolf in White Van, Sean Phillips is a victim of depression and trauma. He questions himself about the meaning of his life and purpose in trudging on. As an avid fan of role-playing games and fantasy fiction, Sean closely analyzes all walks of life and compares them to qualities of fictional stories and games. He recollects memorable past experiences and closely examines them for what they are or what they might be.

There is a unique perspective on life uncovered in Sean’s recollection of spending time in the hospital. As opposed to living alongside the path of mainstream culture, “it is better sometimes to resist the temptation to stand up and follow the compass” or follow what everyone perceives to be “true” north (Darnielle 29). This is significant, not only in Sean’s situation as he tries to recover from his incident, but for anyone who is looking to separate themselves from the rest. It may be that the paths less taken are scarier and forbidden by the masses, however, the choice must be made if one is to truly separate themselves from the rest. This applies to all areas in society such as business, art, writing, music, etc. The application is obvious in these fields, seeing that businesses must separate themselves from their competitors and that musicians and writers must compose and compile unique work in order to keep their audience hooked. Although the decisions taken may or may not be the best or “right” ones, nevertheless they serve the purpose of providing diverse and unique qualities in day to day living.

Work Cited:

Darnielle, John. Wolf in White Van: A Novel. N.p.: n.p., n.d. Print.

The featured image is not my own, but instead belongs to Dan Dickinson of Flickr. Link to the featured image can be found here.

Unpacking Manuel’s Tavern (Reflection)

The controlling idea behind my analysis of the running of the bulls image revolves around the significant contribution this object has for Manuel’s Tavern. Removing this piece from the tavern would mean to take away some of the significant values and characteristics Manuel’s Tavern is widely recognized for.  Values of courage, honor, and risk-taking vibrate from the image, while at the same time, its slanted orientation on the wall, although subtle, fits into the social atmosphere Manuel’s Tavern requires.

My direction for writing the analysis was influenced from having taken Professor Bosch’s class – English 101: Image, Ambiguity, and Argument – last semester. At first, I focused on specific figures, small details, and observed closely with intent. Once I grew confident in my understanding of what could be seen on the surface of the image, I began to think on the bigger scale and what this object represents in the world outside the frame. In this case, Manuel’s Tavern. Only until I felt I gathered as much information as I could from observation, inferring, and hypothesizing, I researched more about the history of bull running in Spain and the political reputation of Manuel’s Tavern. Upon gathering all this information, the ultimate question comes to the table to challenge the object. What is at stake? Why is this image on the wall of Manuel’s Tavern? What makes this picture of bull running different than other pictures of bull running. Most important of all, what would it mean for Manuel’s Tavern if this image were to be removed?

Working on this assignment, I believe I gained a greater understanding of rhetorical composition and writing as a process. This was my first time writing a more formal and lengthy analysis for a webpage. I looked to previous encounters with webpage articles for guidance on how to gain attention and authority of the audience over a webpage.

As mentioned earlier, I used the knowledge I gained from ENG 101 as a foundation in analyzing my image. In addition to the several steps I took in analyzing the information, I had to revise and edit my argument so that it was tailored to and audience over the internet. This was a challenge I have not undertaken. Publishing on a medium where attention spans can be very small, I spent a considerable amount of time cutting down verbose language while maintaining an effective and content rich argument. Alongside editing, reflective writing on my draft was completed as a way to self-critique and self-improve. Re-visiting my work with days rest in between sessions allowed me to look at my argument from different perspectives.

Throughout this process, I have learned that writing over the internet can be significantly easier compared to writing on the everyday, standard, word-processing document. This however can be two sides of a coin. The ease of writing helps to promote brainstorming and overcome writer’s block, yet, irrelevant or unorganized content often comes alongside this. In future pieces of writing, I will focus on improving my organization of ideas before beginning to brainstorm fruitlessly.

The draft version of Running From the Bulls article can be found here and the revised version of Running From the Bulls article can be found here.

Reaction To Playing Space Invaders on Stella

No doubt, you have come across to play, or at least seen, the the 1978 classic Space Invaders game.  If the name doesn’t ring any bells, then the picture below surely will.

New PictureIf this looks familiar, but not quite 100% like you remember, that is because this is an alternative version to the original that I played on Stella – a computer emulator that lets you revisit classic games from the Atari 2600.  Having grown up in a generation when video games become more sophisticated advanced, and the industry was starting to become more widespread and recognized, I was unsure as to how I would react to such a simple game as Space Invaders.  After moving past my initial frustration of knowing how to start the game (*cough* *cough*- F2 key -*cough*), I went through the motions of shooting down aliens and dodging their lasers.  Although my level of satisfaction was neutral at first, I started to become more and more attached to the concept of defending, what I assume to be, planet Earth.  There are no visual cues on screen to suggest that in fact, I am defending Earth, or any sort of planet of base for that matter. There is simply a flat landscape of which you are the sole inhabitor of. I think there is something interesting to be said here.

Space Invaders sends this subliminal message that we MUST defend and fight any and all creatures which appear to “invade” our territory. One could argue that after waiting for some time, the invaders open fire on you, regardless if you shoot first or not, and therefore implies they are hostile.  But what if the invaders never opened fire?  What if they had no way to communicate with you? These questions change the narrative, purpose, and meanings behind Space Invaders and, more so, say something about our intuitive nature – shoot first, ask questions later.

Mini Reflection on DepressionQuest (Online Text Game)

As it has been discussed in a variety of previous posts, video games have the ability to do more than just entertain.  In the case of DepressionQuest, an interactive web based game, players are given a glimpse of what it means to be suffering from depression. Through descriptive and relatable story telling and details of your situation in the game, the game creators are able to evoke empathy. Furthermore, DepressionQuest was able to bring both frustration and empathy by applying a unique game design – one which I personally have never seen in a video game.  When selecting decisions in the game in order to progress, there are specific options unable to be selected.  These are options that are positive, full of energy, and first-pick options for those not suffering from depression.

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Not being able to pick these options crossed out in red surely is frustrating and builds a sense of empathy within me for those who feel unable to make their own decisions.

You can play DepressionQuest here for free.

Mini Reflection on DepressionQuest (Online Text Game)

As it has been discussed in a variety of previous posts, video games have the ability to do more than just entertain.  In the case of DepressionQuest, an interactive web based game, players are given a glimpse of what it means to be suffering from depression. Through descriptive and relatable story telling and details of your situation in the game, the game creators are able to evoke empathy. Furthermore, DepressionQuest was able to bring both frustration and empathy by applying a unique game design – one which I personally have never seen in a video game.  When selecting decisions in the game in order to progress, there are specific options unable to be selected.  These are options that are positive, full of energy, and first-pick options for those not suffering from depression.

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Not being able to pick these options crossed out in red surely is frustrating and builds a sense of empathy within me for those who feel unable to make their own decisions.

You can play DepressionQuest here for free.

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