Prompt 3: Describe the procedural rhetoric employed by the game.
In the game “Hero” by Weihao, the player enters a medieval world, where the subject matter consists of a knight needing to save the princess. Elements that support this subject matter consist of the graphics of the actors and setting. The actor resembles a person holding a shield and sword, and to further support this, the first NPC the player runs into in the game consists of the same armory. The setting of this game lies within what appears to the player as a castle, with skeleton remains scattered, as well as an opening to a dungeon. Another representational element to support this, is the text when the player interacts with the NPC up the ladder of the castle. When interacted with, the dialogue of this NPC states, “Magic indeed exists!” implying once again that the subject matter of this game takes place in a medieval setting, and to save the princess. Once the player has interacted with this NPC, the sound of the game changes to a song that could alert the player of a forthcoming attack or siege. Another part of this argument that happens through the rules of the game, is that once the player has entered the dungeon, a dragon is seen flying side to side of the passageway the player must take. If the player does not precisely dodge this enemy when trying to cross, the player dies and must restart. The enemy consisting of a dragon, along with the sound resembling a battle, supports the claim of the subject matter being a Hero needing to save their princess.
Prompt 1: Describe how the shape of the space influences the feeling of play.
The game is centered around the "hero". The story begins in an empty space where the player interacts with another hero. He tells the player to finish the trial on the left. Then the player goes up through the ladder to a platform. The ladder is the entrance to the place where you talk with the character also the item that connects the two scenes.
After talking, the music changes, and the player has to go into a cave. The cave is displayed in one-third of the entire screen. The scene becomes narrow, which makes players feel they are in a real cave. At the same time, the tight space will make players feel the tension. In the cave, designers used rocks designed for only one player to pass through, combined with the horse. As soon as you touch the player will let the game end to increase the fun of the game. A staircase connects the cave to the outside world. The view opens up once again. Going from a narrow place to a broad place will give the player the satisfaction of passing through the cave.
Then the player goes down. In order to enter the third scene, the avatar has to pass a narrow through a narrow corridor. A high-speed horse and the narrow hallway increase the difficulty of this part. After entering the new place, players can discover this scene is from wide to narrow and then wide again. The narrow field of view makes the player wonder what will happen in the next place. Throughout the game, the designers repeatedly used limited and open areas to increase the interest of the game.
Prompt 2: Drawing on Doris Rusch's account of games as expressive media, describe how the abstract rules simulate some real world system.
The role in Weihao's game "Hero" that the player inhabits is the hero of the narrative. There are different villains which prowl throughout the field that will kill you if you run into them. Additionally, there are other warriors just like you that prowl a field. The core conflict seems to be between good and evil. There are different skeletons that pop up which showcase the death and conflict that has permeated the world before you inhabited it. The core mechanic of "Hero" is running around and avoiding the enemies which run left and right at different speeds. There is one character that you can interact with at the top of the field who says "magic does indeed exist". This abstract text shows how this game is in a fantasy medieval world which believes in magic and that it exists. There is one other room that you as the player can go into. In this room, there is a flying horse which you must avoid, a skeleton chained to a wall, and a door. When you interact with the door, it says "congradulations" and are you put to the beginning again. Maybe this is the magic that was spoken about in the field which teleports you too and from worlds. These different pieces of enemies, movement, words, and teleportation all add up with the medieval backgrounds to create a fantasy realm where the player explores as the hero.
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Prompt 3: Describe the procedural rhetoric employed by the game.
In the game “Hero” by Weihao, the player enters a medieval world, where the subject matter consists of a knight needing to save the princess. Elements that support this subject matter consist of the graphics of the actors and setting. The actor resembles a person holding a shield and sword, and to further support this, the first NPC the player runs into in the game consists of the same armory. The setting of this game lies within what appears to the player as a castle, with skeleton remains scattered, as well as an opening to a dungeon. Another representational element to support this, is the text when the player interacts with the NPC up the ladder of the castle. When interacted with, the dialogue of this NPC states, “Magic indeed exists!” implying once again that the subject matter of this game takes place in a medieval setting, and to save the princess. Once the player has interacted with this NPC, the sound of the game changes to a song that could alert the player of a forthcoming attack or siege. Another part of this argument that happens through the rules of the game, is that once the player has entered the dungeon, a dragon is seen flying side to side of the passageway the player must take. If the player does not precisely dodge this enemy when trying to cross, the player dies and must restart. The enemy consisting of a dragon, along with the sound resembling a battle, supports the claim of the subject matter being a Hero needing to save their princess.
Prompt 1: Describe how the shape of the space influences the feeling of play.
The game is centered around the "hero". The story begins in an empty space where the player interacts with another hero. He tells the player to finish the trial on the left. Then the player goes up through the ladder to a platform. The ladder is the entrance to the place where you talk with the character also the item that connects the two scenes.
After talking, the music changes, and the player has to go into a cave. The cave is displayed in one-third of the entire screen. The scene becomes narrow, which makes players feel they are in a real cave. At the same time, the tight space will make players feel the tension. In the cave, designers used rocks designed for only one player to pass through, combined with the horse. As soon as you touch the player will let the game end to increase the fun of the game. A staircase connects the cave to the outside world. The view opens up once again. Going from a narrow place to a broad place will give the player the satisfaction of passing through the cave.
Then the player goes down. In order to enter the third scene, the avatar has to pass a narrow through a narrow corridor. A high-speed horse and the narrow hallway increase the difficulty of this part. After entering the new place, players can discover this scene is from wide to narrow and then wide again. The narrow field of view makes the player wonder what will happen in the next place. Throughout the game, the designers repeatedly used limited and open areas to increase the interest of the game.
Prompt 2: Drawing on Doris Rusch's account of games as expressive media, describe how the abstract rules simulate some real world system.
The role in Weihao's game "Hero" that the player inhabits is the hero of the narrative. There are different villains which prowl throughout the field that will kill you if you run into them. Additionally, there are other warriors just like you that prowl a field. The core conflict seems to be between good and evil. There are different skeletons that pop up which showcase the death and conflict that has permeated the world before you inhabited it. The core mechanic of "Hero" is running around and avoiding the enemies which run left and right at different speeds. There is one character that you can interact with at the top of the field who says "magic does indeed exist". This abstract text shows how this game is in a fantasy medieval world which believes in magic and that it exists. There is one other room that you as the player can go into. In this room, there is a flying horse which you must avoid, a skeleton chained to a wall, and a door. When you interact with the door, it says "congradulations" and are you put to the beginning again. Maybe this is the magic that was spoken about in the field which teleports you too and from worlds. These different pieces of enemies, movement, words, and teleportation all add up with the medieval backgrounds to create a fantasy realm where the player explores as the hero.