Category: For Sherwood

For responses in Digital Pedagogy class

Interactive Fiction

Playing the famous Interactive Fiction game “Galatea” in class on Tuesday had me thinking about the ways that IF uses specific literary qualities and digital qualities simultaneously. The literary qualities are the timeless ones: there are complicated plot lines, vivid imagery, and the characters have emotions and desires. Galatea, for instance, is really cranky- of course I can’t ask much more from a living statue that has been literally put on a pedestal by the people who have bought her! The digital is more complicated: how does it look? Is the interface attractive? How does the player actually play the game? When the literary and digital intersect sometimes really cool stuff is created. Sometimes not. I played two more IF games to get used to the concept: the first was “Missive” by Joey Fu and the second was “Creatures Such as We” by Lynnea Glasser.

“Missive” was interesting. The premise is described in the following: “It’s your birthday today. Your ex-girlfriend brings you a present, and inside are series of mysterious letters that tell the story an old love triangle that ended in murder. Solve puzzles, solve the mystery or get wasted and no neither. It’s up to you” (description from website: http://ifdb.tads.org/viewgame?id=pyc6502gxd98g918). The character the user is playing is very depressed- he is still in love with his ex-girlfriend, Emily, and spends his days at a dead end job. Many times the user is given the option to either investigate the mystery or get drunk. Emily makes several appearances (based on the choices I made) however it is clear she is still unsure of pursuing a friendship, or any relationship with the main character again. The letters revolve around the mystery of the murdered Mr. Henry Warren Astor, and by the end of the game (which takes progress over 7 days) the main character is asked who murdered Mr. Henry Warren Astor. I picked Mrs. Astor, as opposed to his mistress, Lilly Clark, who sends the majority of the letters to Mr. Astor. After I made my selection, I was told I had managed to solve 0 of the 7 riddles. Yikes! I did that poorly?! I enjoyed the game because of the mystery factor and the letters offer a different interpretation of what constitutes fiction. However, I also thought that it isn’t quite clear in the beginning of the game that the user is supposed to solve more than one mystery- namely, who killed Mr. Astor. The interface is a little dull, but the storyline makes up for that. I like the development of the characters most, as Emily and the main character that I am playing attempt to find reconciliation in their failed relationship.

“Creatures Such as We” was a little more complicated than “Missive.” When you begin the game you are unaware that the main character is also playing an IF game. It is literally an IF game within an IF game! No wonder it came in 2nd place in the 20th Annual Interactive Fiction Competition in 2014! As the games continues, you find out the main character is a tour guide on the moon and though she enjoys certain aspects of her job, she seems to feel restless as though she is missing life as it goes by. She encounters a new tour group and it turns out the creators of the game she just played, conveniently titled “Creatures Such as We.” They have many interactions and she even gets to find out why the game ended so depressingly- could she have done something to save her ghost avatar at the end?? Many of the conversations amongst characters are philosophical in nature. At one point, the character Ren even says “If video games are art, then to whom does meaning of art belong: the artist or the viewer?” I answered “Both, equally.” Though in reality I’m not sure if I believe that- I think that my character might though.

I stopped the game halfway through. Why? Because it was taking forever!! I’m sure there were some choices I could have made to make it speed by faster, but after an hour I was bored. The same conversations seemed to keep occurring and there wasn’t much of a rising action. When we consider Interactive Fiction in terms of fiction that is found in books, TV or movies, this one was missing the key ingredients that readers look for to keep them engaged.

Overall I am a little surprised by how much I enjoyed playing these games, especially after the very frustrating of not only playing “Galatea” but getting it to work (apparently my Java is working overtime to prevent me from computer viruses! Go Java!) It’s still new for me, it’s still odd for me- but I think that talking more about intersection between conventional fiction and interactive/digital fiction needs to continue and grow. Especially in our classrooms.

Note: I found both games on this website: http://ifdb.tads.org/viewcomp?id=cgofhzc9s5no8ufo

 

Finding Reality in Fictional Worlds

Is it possible to find reality in digital fictional worlds? After reading “Fictional Worlds in the Digital Age” by Marie-Laure Ryan, I think I have more questions about the fictional, digital worlds than I do answers. Because I am really intrigued by this topic, I will focus Tuesday’s entire blog post on this topic. First, let’s start with Ryan’s ideas of what constitutes a fictional text. She considers fiction as “an act of make-believe whose prototype can be found in children’s role playing games, such as playing house, cops and robbers, or big bad wolf chasing little pigs” (13). She further states that the entrance into such fictional worlds can be found in two ways: through “entering the body of a specific individual…or they pretend to be an anonymous member of the fictional world who receives the narration or observes the unfolding fictionally real events” (13). In other words, the first way is through pretend or make-believe and the second is could be through something like reading a novel. The first entrance into the fictional world is applicable to the digital age, as Ryan points out that using an avatar is another way to enjoy fictional worlds, which leads to the discussion of how enjoyable “living” in a digital world can be.

For many years now people have engaged in digital worlds where they can create entirely alternative lives. SecondLife, Ryan points out, allows users to let their avatars create new rooms were they can decorate and comment on other people’s rooms (14). She even adds that avatars can be married online! This is where I start questioning the effects of the digital world on the realistic one. Is marrying ones online avatar considered “cheating” on ones real life spouse or partner? Clearly the marriages are not legal ones, but I wonder where the line is drawn in what is appropriate behavior in digital worlds. How do people who use avatars know when they have crossed that line? Another interesting aspect of digital worlds is in their economic values. Exchanging of “currency” is becoming an increasing popular action amongst online users. For instance, my goddaughter loves playing the video game “Grand Theft Auto” and to be successful in this online world currency is an important thing to have. Although what she buys cannot be reproduced in the real world (a Lamborghini, for instance) it does, as Ryan points out, provide her power over the other players she in communicating with. Video game stores like Game Stop carry gift cards with values ranging anywhere from $10 to $100 for digital words where economy rules. Ryan points out “Let’s consider what would happen if the currency of online worlds disappeared entirely, and all transactions took place in real-world money. If the developers of the online world had the right to make money and to freely distribute some amounts to players by changing the numbers in their accounts, this would create serious disruptions of the global economy” (16). I do not think the real world is at any risk for letting online worlds take over global economy, but her point is still a valid one- again, where do we draw the line? How do we separate the digital from reality?

This point is something to consider when we talk about what Ryan calls “transfictionality” or what it is more commonly called “fan fiction.” Scholarship has been recently taking more seriously fandom theory, or the study of fans and that includes fan fiction. This is another forum in which people have the option to create new worlds, new interactions that are most likely to never take place. Many celebrities are the object of fan fiction and these stories written about them calls into question the boundary between what is reality and the digital world. Sometimes fans (and I know this from personal experience) will forget that the fiction that is written about their favorite celebrity, novel or TV show is not what really exists. A great, recent book that considers the state of fan fiction and anonymity online is called “Fangasm: Supernatural Fangirls” by Katherine Larsen and Lynn S. Zubernis. Although they mostly discuss the world of the hit show “Supernatural” on the W.B., they take a look at how fans feel about the online world and what it means for their real names (and thus their reality) to be revealed in the online world on fan fiction.

If you are interested in the book, you can order it on Amazon. It’s a great read- especially if you are a”Supernatural” fan.

Websites versus Digital Humanities Projects

I looked at two Digital Humanities projects recommended by the UCLA Center for Digital Humanities: Intro to Digital Humanities. The first is Arachne (http://arachne.uni-koeln.de/drupal/) and the second is the Perseus Digital Library Project (http://www.perseus.tufts.edu/hopper/). The purpose of looking at these projects is to see how digital projects differ from general websites. Arachne, run by the German Archaeological Institute (DAI) and the Archaeological Institute of the University of Cologne, provides archaeologists and classicists with hundreds of thousands of digitized documents that were subjected to decay. The project offers access to several projects including the Digital Catalog of Illuminated Manuscripts of the Spanish Codices of the 10th-12th centuries; the Max Van Oppenheim Photo Collection; and the African Archaeology Archive Cologne (these are just a few of the many documents they offer). The project is user friendly in how it has a search bar, past news letters, and a book browser that includes every title they have, biographically referenced. The top of the page has a bar that offers a tag for content, interfaces, usage analysis, and contact. The Perseus Digital Library Project showcases various collections that cover history, literature, and culture. The main focus is on the Greco-Roman World, but other collections include 19th Century American texts, Humanist and Renaissance Italian Poetry in Latin, and other Germanic and Arabic materials. The Perseus Catalog lets the user search by several fields including author, title and editor. They also provide updates on current and past research, and their projects that are being funded by grants. On using Hopper as their code base, Perseus states ” it reflects that same emphasis on being an integrated reading environment: much of its power derives not simply from isolated textual services, but in the knowledge that emerges from the interaction of texts themselves” (from “Open Source” tab). Perseus seems to pride themselves on the users ability not only to find single texts but multiple texts that can easily be compared with one another.

One significant way that digital humanities projects seem to differ from general websites is in it’s focus on user interaction. General websites do offer search bars, but digital humanities projects allow the user to interact with the collections they have such as texts or images. For example, scrolling the mouse over an image may reveal information about image, like dates or relevant information about the historical period it was created in. Online archives especially provide scholars with the ability to look at images, texts, etc… and compare them easily in one  location. Digital humanities projects seem to be more directed at scholars and their interests than general websites do. There is always a specific purpose to a digital humanities project, for example, the preservation of 18th century war letters (this is just an example) whereas websites, sometimes blogs, may address a large variety of concepts and ideas not necessarily related to academic pursuits. This doesn’t make them bad or useless, it just doesn’t provide academics with what they may be looking for. I think that this difference, although it seems small, is what truly separates digital humanities projects from websites.

Some Positives, Some Negatives

Thinking about the future of the Digital Humanities means thinking about the way students, both in college and K-12, will be introduced to technology and English. There are several positives when considering how technology can help students better understand literature, especially in a world where “common core” and testing is the standard for success (note: in no way do I condone the common core and I am adamantly against standardized testing). However, with it being the reality of K-12 education right now, there are several ways that the Digital Humanities can help students prepare. Using apps on tablets and smart phones are just a few of the ways that students can access study materials, not to mention that developing technology can assist students with learning technical and analytical writing and reading skills. The Digital Humanities is helpful in teaching students literature as it adds a new, flashy way of reading texts that may seem “boring” or otherwise uninteresting to students. For example, Rap Genius is a great website that breaks down some classic poems, such as Andrew Marvell’s “To His Coy Mistress.” Seeing the poem in a regular anthology side by side with the way Rap Genius presents it might help students better understand the poem’s message and attract their interest in general.

Although there are many positives to the evolving world of the Digital Humanities I can’t help but be more concerned by some of the negatives. Is the progress of technology  ruining how students process literature emotionally? I just read a great article in The Atlantic by Michael Godsey titled “The Wisdom Deficit in School” and he talks about how his role as an English teacher is changing as English becomes more digital. He mentions for instance that rather than teaching Shakespeare as a primary text, he used the podcast Serial (the popular podcast on This American Life) to teach “common core anchor standards” (1). He begs the questions where are students getting their wisdom from these days? The common core has not built into their agenda how students are supposed to “feel” or emotionally process what they are learning from literature. Godsey writes that instead of asking students how they sympathize with Hamlet, he is asking them to “evaluate the sufficiency of the evidence” in the play (1).

Hearing about these types of changes concerns me and I can’t help but wonder where we draw the line between using the Digital Humanities to enhance our understanding of literature and stepping back from it a little in order to remember that literature is also about emotion. One of the questions that I hope to find an answer to, or at least start contemplating the answer to, is how do we negotiate these changes in education? How do we help students to embrace technology (and pass these damned standardized tests) while simultaneously asking them to consider other aspects of learning, such as feeling and empathy?

If you are interested in Godsey’s article, here is the link:

http://www.theatlantic.com/education/archive/2015/01/the-wisdom-deficit-in-schools/384713/

 

Blogging about Blogs

Thinking about blogging as a new form of communication is odd at first. I have always thought about it as a hobby; something that is simply an addition to a more permanent source of communication and expression. However, in retrospect blogging is probably one of the most permanent forms of discussion that exists in the world today. As a scholar, I have yet to join the world of academic blogging, but I have noticed that more are appearing everyday. The Junto Blog, one of my favorites, allows budding scholars and graduate students to showcase their newest work in Early American studies. Despite the wealth of information it provides, and it’s accessibility, I never thought of it as on par with an actual book or scholarly journal. I’ve always thought of blogging as something people do when they have extra time on their hands, but as I read more about the blogging world I am starting to change my mind.

Reading Trevor Owens “The Public Course Blog: The Required Reading We Write Ourselves for the Course that Never Ends” allowed me to realize that the blog is useful for new approaches to writing. Rather than writing for our professors, editors, students, etc…we are writing for a larger audience who is interested in communicating on a larger discourse for a longer period of time. Blogs allow for interaction that books and journals do not and this allows the conversation to expand into new avenues and spaces it might not have reached before.

I also like Owen’s point that the blog he made his course for is never over, and thus the course is never over. Later students will add their own contributions, building on what has existed before them and encouraging what will come after them.  Aimeee Morrison points out that blogs are often distinguishable by their “non-static” appearance, another aspect of the blog that makes it perfect for the constantly changing and moving world that we are living in.

What is Digital English to me?

Digital English is a part of academia’s future. The days of “codex-based” literature is not the only option that students and faculty have when studying literature.  Now is the time to find answers to questions such as what does it mean to be ‘bookish’ in a digital age? What are the new purposes of bookstores such as Barnes and Nobles versus online stores like Amazon? How do people who really love the feeling of holding a book, smelling the pages, and putting it away on the bookshelf handle the influx of cheaper e-books? In regards to teaching on all levels, new challenges need to be addressed. Is it better to provide every 5th grader a Kindle and ask them to read their Language Arts assignments digitally? Or do we force them to read from a physical book? How does education, especially English, move into the future with the choice of having e-books versus the “real thing?” Although it is important to introduce children to the book as a physical object it is also necessary to prepare them for a future where technology is evolving at a rapid pace.

In the field of Early American Literature the Digital Humanities has become especially prevalent, especially with archiving. Old documents such as diaries and letters that are being pulled from abandoned homes, churches, and other historical sites need a home where they can be accessed with relative ease for academics and the general public. Archives are especially prevalent in Digital English today as they offer new modes and interpretations of reading a text, or multiple texts side by side. Combining technology and English has provided new ways of exploring geography in relation to Early American Literature as well. For example, digital maps have helped to show the trajectory of the outbreak of the Salem Witch Trials in context with the the transcript records. Lehigh University has even built a website including letters (in a timeline format) from Thomas Jefferson’s estate that reflect on his personal relationship with race and slavery.

While there is something familiar and comforting about browsing the bookshelves at a local bookstore and sipping tea while flipping the pages of a paperback, scholars and general readers alike need to find a balance between the physical and digital. Moving forward with the promise of new technology to make scholarship more efficient is an enticing concept; but, it is equally important to not forget how English has been researched and taught without digital assistance. I look forward to finding this balance in my own scholarship, teaching, and personal reading as well.

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