Classifying the Pointing of Broken Age

During my playing of Broken Age, I was interested in the way that the game’s format as a point-and-click game affected the game itself. As a point-and-click adventure game, Broken Age requires the player to use the computer mouse to interact … Continue reading

During my playing of Broken Age, I was interested in the way that the game’s format as a point-and-click game affected the game itself. As a point-and-click adventure game, Broken Age requires the player to use the computer mouse to interact with the world. I found this method of playing to provide a new element to the game itself, slightly altering the games classification when using Roger Caillois’ four classifications.

Using Roger Caillois’ classifications of games from his work, “The Classification of Games,” I noticed that Broken Age is clearly an agôn game. According to Caillois, agôn games are competitive games in which the player seeks to prove their superiority, be it superiority of speed, endurance, strength, memory, skill, or ingenuity (131). In Broken Age, the player seeks to prove their superior mind by solving the puzzles presented to them while progressing through Shay and Vella’s narratives. Solving the puzzles require the player to obtain objects and talk to various characters, all by clicking on them.

Broken Age does provide clues as to what objects to interact with and what non-player characters to talk to in order to gain the skills or objects needed to solve the current problem or puzzle. Through conversations with the non-player characters, Shay or Vella, and by extension the player, can hear helpful hints as to what type of objects they should be trying to find. While sometimes this is enough to aid the player, the game adds another layer of help.

This image show the gameplay of Broken Age. In this screenshot, Vella is attempting to obtain that golden egg, and must use the ladder she previously obtained that is in her inventory at the bottom of the screen.

As a point-and-click game, the cursor is an extremely important part of Broken Age as it leads to the completion of all the game’s actions. Typically the cursor looks like a normal mouse arrow. However, when the player hovers the cursor over an object that can be interacted with, the cursor changes into a starburst-type shape, cluing the player in to the fact that the object or character can be interacted with.

This image showcases the described cursor change in Broken Age. In the bottom left of the screen, the cursor can be seen in its starburst form, showcasing the ability of the covered dish to be interacted with.

This cursor changes provides the game with another of Caillois’ classifications: alea. According to Caillois, alea games are all about luck and chance, “winning is the result of fate rather than triumphing over an adversary” (133). Thanks to the ability of the cursor to change and clue the player in to what objects are interactive, the player can simply wave the cursor around until they see the cursor change into the necessary starburst. This alters Broken Age from an agôn game that requires skill to pass through the puzzles to an alea game that affords the player the opportunity to wildly wave their cursor around until a solution appears, all as a result of the game’s format.

Works Cited

Caillois, Roger. “The Classification of Games.” The Game Design Reader: A Rules of Play Anthology. Ed. Katie Salen and Eric Zimmerman. Cambridge, MA: MIT, 2006. 129-47. Print.

Image Sources

  1. https://portforward.com/games/walkthroughs/Broken-Age-Act1/Broken-Age-Act1-73.htm
  2. http://www.gamezebo.com/2014/01/28/broken-age-act-1-walkthrough-cheats-strategy-guide/

In the end, it was just for a slice of Cake

A game log about the video game, Portal Before taking this FMS class, I had never even heard of Portal before. The concept took a while to understand: imagine having the ability to transport through walls. That’s what defines Portal  as a new video game genre which converts 3D spaces into puzzles. Although this was my first time playing Portal, I found myself frustrated with its “appearance […]

A game log about the video game, Portal

pora

Before taking this FMS class, I had never even heard of Portal before. The concept took a while to understand: imagine having the ability to transport through walls. That’s what defines Portal  as a new video game genre which converts 3D spaces into puzzles.

Although this was my first time playing Portal, I found myself frustrated with its “appearance of choice.” In this conext, I define this term as the illusion that provokes immersion and a sense of agency over Chell, the character. Yet, when the player may believe that they are discovering a new way to solve the puzzle, it’s the opposite because almost every move has already been strategically placed by the game designer. If each player were to draw out the game maps and the moves necessary to advance in the game, I wouldn’t expect them to look much different from the game designers’. The game lacks alea,  the term coined by Roger Callois for chance (Man, Play, and Game). Although this may not be seen as a bad thing, the game does not convince me to replay it. 

The story of Portal is interesting, but not as thought-provoking as I would have liked it to be. After having advanced 19 stages of puzzles and destroying the AI, Gladys, the player is awarded with cake. Solving the puzzles was a more rewarding experience than earning cake. The ending is rather sarcastic and almost confirms how Chell, did all of this for nothing nor can it be labeled as a heroine’s odyssey in Henry Jenkins’ terms (“Game Design as Narrative Architecture,” page 6). Although Portal embeds narrative elements within the mise-en-scene, it would be wrong to expect more plot development than spatial exploration from a video game like this. Because there was not much plot in the game, I found it hard to relate to my life. Maybe that’s the point; maybe Portal is  meant to only survive in its own magic circle. 

 

References:

Henry Jenkins, “Game Design as Narrative Architecture”

Roger Caillois, Man, Play, and Games, 1961.