Thursday, October 29, 2015

Blog 10 - Interview 2 Reflection


Click here for Interview 2

1. Please explain how you are spending your mentorship time (Is it at a workplace or somewhere else?  Are you shadowing?  Are you able to do tasks that are meaningfully related to the topic?  If so, what?  Are there other people who are experts in the location?  Etc...)

For the most part, our mentors always find something for Clerisse and I to do; while shadowing is certainly is one of those choices, we've done much more already. It's not routine, so there's always something new and different. We've helped brainstorm ideas for a new video game at its primordial state, play-tested some of our mentors' work-in-progress games, attended a very sophisticated assembly meeting pertaining to the economic affects of video games in our country, listened in on their meetings, completed an assignment that all USC game design students have done (which is to make a game board), played some of the games designed by other students, and of course, we have interviewed them. All of these have provided us with an undiscovered aspect of video games we didn't think about before.

All of this happens in the USC campus, but mostly we associate in the Game Innovation Lab, where our mentors frequent the most. Yes, the place is populated with nothing but experts, given that they are mostly the teachers/professors of the subject! To be honest, I am very proud to have met so many sincere, talented adults who contribute so much to their field. They often discuss innovative ideas. They're often busy, but just listening to them in their element allows you to glean things you might never through secondary research. They try their best to have us involved to what they do, even though I feel our input is at best amateur.


2.  How did you find your mentor?  How did you convince this person to help you?  


I was very fortunate to have been able to establish my mentorship with Tracy Fullerton through e-mail. I found her e-mail address in USC's website, given her important position in her division of work, and had sent a formal request explaining what the Senior Project entailed for me and for prospective mentors. I'll admit that I was extremely desperate at the time, and I repeatedly assured her that the very least she would need to do is allow me to shadow her in her work. Despite that, I made sure to explain everything thoroughly; not only did I explain Senior Project, but also the emphasis I-Poly has on projects.

Tracy was kind enough not only to agree, but expressed great interest when I talked about our high school. From the get-go, she has done more than the bare minimum that I asked her, which has been a blessing all on its own. She was honest enough to admit that she would be very busy some days, yet still introduced us to two of her associates - Sean Bouchard and Elizabeth Swensen - in her stead. Since then, I have been so grateful to have been bestowed with not one but three mentors. 



3. How would you rate your comfort level with your mentor at this point in your relationship?  How does this relate to the time you've spent so far at mentorship/with this person?

So far, I am comfortable with all three of my mentors and their colleagues I regularly come across. Since the beginning of the mentorship,  everyone at the Game Innovation Lab has been very kind and involved, often asking me questions that I sometimes forget to ask myself about our project. In fact, the entire Lab, with its gamut of encouraging experts, just automatically becomes a positive learning environment for us. If there's anything I'd wish to improve, it would simply be able to see them as well as my own mentors more frequently. While I can say that this comfort has grown from our time spent with them, it's easy to just say that the lab consists of naturally kind-hearted people. It's not just because we've visited there regularly. To be honest, I haven't been able to meet with my mentors as often as I'd like, mostly due to our schedule being cramped with assignments from our core curriculum. I would really just like to spend more time to learn from them.


4. What went well in this interview?  Why do you think so?  What do you still need to improve?  How do you know?  How will you go about it?

I was much better prepared with this interview than my last one, which had mostly been due to the fact that I was already familiar with my interviewee (my mentor). Because of this, I felt more at ease in asking her follow-up questions compared to my previous interviewee (who had respectfully and kindly asked me not to). In fact, I was able to fulfill this interview no more than a week after it was assigned to us thanks to how efficient our mentors were.

This interview did immensely in letting me feel closer to my mentor, Tracy Fullerton. In the past, we would see her much less than when we did with Sean and Elizabeth; truth be told, we might still see her less, because this interview won't change the fact that she has an important role to fulfill in the staff that obligates her to be occupied with other things on days that we visit. But in the time she manages to make for us, she is always helpful, earnest, funny, and always invites us to the most interesting events that relate to her (the assembly, for one). 

It's easy to figure out how much I was able to improve in this interview by using my first interview as a basis. However, something I realize as I was re-listening to the audio to transcribe the interview was that I often relied on my on body language and gestures to convey certain questions and comments, which can't really be detected in audio recordings.

For the most part, I made sure not to ask many follow-up questions within our 5 required questions because I was made to believe initially that we were supposed to only upload a 5-minute segment of the entire interview, and so I let Tracy know that any follow-up questions I wanted to ask during the main part of the interview would be asked later (I would jot down my question when I thought of them).

Wednesday, October 21, 2015

Blog 9 - Advisory Prep 3



1. State whether or not you currently have a mentor, and what the status of your interview is with that person (I have completed the interview, I have scheduled the interview, I have not scheduled the interview, etc).

My mentors are Tracy Fullerton, Elizabeth Swensen, and Sean Bouchard. I have met them regularly every two weeks with Clerisse, and I have completed my interview (I just need to get to transcribing it).

2. At this point, your research is probably guiding your studies toward more specific areas within your topic.  Name the area or two you find most promising and explain your reasons. 

As of now, my highest interest within game design are as follows finding how to maximize either intended player experience OR how to maximize player learning experience. While both sound very similar, the meaning behind both of them are vastly different (at least, for me). The former is based on an entertainment and artistic level, whereas the latter 
entertainment and educational level. 

To elaborate on the first part: suppose the genre of my game is fantasy, and I want my game to convey the theme of regret. What elements of the game design process will be most essential in allowing for the player to understand these underlying (or ubiquitous) messages without it being a distraction from the gameplay?

Player learning experience, on the other hand, is a goal in which I want to understand how I can best use video games as a way of teaching players (depending on the age) certain information. Yes, I fully mean BRAINWASHING education via interactive media, which is certainly not an  unfamiliar concept. However, I do want to delve into understanding what is necessary to best ingrain information into video games without any expense of entertainment. Anyone can easily argue that many games already pull this off, but the processes are never never so clean-cut.

3. What kinds of sources do you think will help you in the next month to gain more research depth?  Where will you go to get them?

Fortunately, both Sean and Elizabeth are avid designers for the educational genre of video games, though it was pretty obvious I would to them for advice even if they weren't. However, since I've started this mentorship, I haven't been really asking them specific questions regarding this particular topic, and since I realize that I'm starting to lean that way now, more doors will definitely be open. I can definitely ask them for any sources they used.


With a single search, I was also able to find reliable books on the subject matter -  What Video Games Have to Teach Us About Learning and Literacy by James Paul Gee seems to be a good start (and it happens to also be at my local library). 

I still have my mentor's textbook Game Design Workshop  to go through, and there are still a variety of unread articles online that will go into depth in this topic. Of course, I can't always count on the Internet's reliability, but I still also have CPP Library's database to go through. Last I checked, it had other articles for me to read.

4. Write down a possible EQ.  Please don't worry about wording other than ensuring that it provides the option for multiple correct answers.  At this point, the senior team is most interested in understanding your thought process.

What elements are most essential in maximizing player learning experience in a video game, with minimal expense to the entertainment?

Wednesday, October 7, 2015

Blog 8: Independent Component 1 Proposal



1.  Describe in detail what you plan to do for your 30 hours.


Just as there are for books, films, and even architecture, there is a pre-production for video games, which is exactly want I want to focus on for my first independent component. Pre-production in video games is where the concept development and design - storyline, mood boards, characters - take root so that a interactive medium may grow into a full-fledged game, however simple it may be. Since the start of senior year, I have been wanting to dive into the process of making a video game using the RPGMaker software my brother had given me, but thanks to my mentorship and research that Senior Project entails, I have back-pedaled to realize that there is much more than just coding the game with the software; video games games, throughout modern history, has evolved beyond just Pong and mechanics to entertain the player. Our standards have been raised to the point where video games can pass as an artistic medium.


I want to understand the experience of this creative aspect of game design, where brainstorming is the default state of mind and the most spontaneous ideas have potential. I want to make this component so that, by the end, I have a detailed outline that will be ready to accompany me in the actual production process when that time comes. Of course, in this aspect of game design, there are certain things that must primarily be tackled.

The following is what I want to accomplish:
- Storyline: What is the plot of the game, and what are the lessons and themes that will play throughout with the player?
- Map outlines: I will sketch out and design a virtual recreation of the I-Poly campus, to which the game will be based on.
- Mood boards: Because I want the game to be of the puzzle-horror genre, what filters/mechanics can I use to maximize this experience? 
- Puzzles: The game is going to be designed so there are 16 main puzzles, 1 per core classroom the the virtual I-Poly setting. This will also connect to the plot.
- Character designs: I definitely want the character to be fictional, so they will have a customized sprite as well as portrait to accompany the player all the way through.
- Audio distribution: An essential to ever horror game is the use of sounds. At my disposal are public domain audio clips. How can I use them to maximize the player experience in a horror setting?

All of this will be compiled into a Game Design Document (GDD).

Thanks to my mentor's textbook, Game Design Workshop, I have actually found a proper description and process in which I plan to execute this independent component. In the book, it's known as the Brainstorming and Physical Prototype steps in the process known as Iteration (the design, test, and evaluation of the game-making). Brainstorming simply refers to setting the player experience goals, deciding in what game concepts we want inside of the game.

2.  Discuss how or what you will do to meet the expectation of showing 30 hours of evidence.

This process will take a myriad of media: text for the storyline and plan for audio distribution, graph paper for the map outlines, and sketches/drawings for the mood boards, puzzles, and character designs. Each and everyone can be documented by either photos or screenshots. I will spend a certain amount of time in a given day, which will help me in my documentation of my hours. Each one is a small endeavor; there are 6 sections total. It is a pretty safe bet to say that each aspect will take an average of 5 hours to complete, and the compilation make take extra time.

3.  Explain how what you will be doing will help you explore your topic in more depth.

As mentioned before, game design has a great potential in society as an interactive, immersive medium. That is not to say that there aren't just games that are designed solely as brain-candy and are built to entertain, but there is a pool in the game industry that also tries to work beyond that. For me, I want to have an experience, even if it is that of a beginner, in designing video games. It is no different from someone who plans out a book, a movie, or even a building. There is so much behind the many products in our world, and creating a GDD will definitely serve as proof of that. Many memorable aspects of video games all are somehow derived from an idea that was made in pre-production, and that process is something I am deeply interested in.
4.  Update your Senior Project Hours log.

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