Thursday, December 9, 2010
how would I INCORPORATE IT!?
I don't want to be overly glib about it, so I will...and then clarify.
The short answer: literature/writing doesn't exist for me without using film/tv/internet as a major part of it. So I'd use it all, and it would be daily.
It's just a huge part of who I am. Many of my cohort comes at all of this from a literature perspective, and I certainly am not naive to literature. I've seriously studied the super-idea of "literature" since about 12 years old, and I know play-writing/screen-writing and poetry incredibly well, but not to the detriment of prose. However, my first experiences with the artistic experience is through film. Without equating what I read to what I've seen, I have serious problems generating interest in myself. So my lessons by their definition default to webpages that might equate, films that better show the themes, etc. It all works as allegory for our own experiences, but film simply speaks to me in its own "better" way. As a result, when I come up with lessons, I default to what movies or tv I could use with it, or what websites would help make the understanding easier for students. Even something like Shakespeare, Shelley, Donne, or Eliot, all of whom I've loved since I was a kid...I always look at the text as one part of a much larger picture. The unsung hero to all of this is games, which I also view as a huge part of educational understanding.
So there's my strength. My default is to incorporate this all together in a lesson, and without a computer and dvd-player to help me along, I'd have some huge adaptations within myself to make. That's my weakness. My weakness isn't in incorporating all of this. It's in finding myself in situations where I can't.
My DREAM class (one of two) is teaching a year-long class on screenwriting/shooting/editing.
The second dream class is debate, but there's another story.
My default, FYI, is the honor's/AP route. Hopefully my education/background helps me there.
so that prime dream class of teaching video production and screenwriting can't exist without my defaults, and it certainly can't exist without specific modeling/scaffolding using a hundred different programs. I really enjoyed our imovie assignment, specifically the part about using photos to do it. I'd love to make that an early component: giving students cameras and telling them to shoot pictures. still photos. make a short montage of it. Something like flickr and imovie combined would also work really well: asking them to pull available images and tell a story with them isn't too far off from early directing projects i've done in early directing classes. by the same token, digital comic books would be a good primer for storyboarding.
The short answer: literature/writing doesn't exist for me without using film/tv/internet as a major part of it. So I'd use it all, and it would be daily.
It's just a huge part of who I am. Many of my cohort comes at all of this from a literature perspective, and I certainly am not naive to literature. I've seriously studied the super-idea of "literature" since about 12 years old, and I know play-writing/screen-writing and poetry incredibly well, but not to the detriment of prose. However, my first experiences with the artistic experience is through film. Without equating what I read to what I've seen, I have serious problems generating interest in myself. So my lessons by their definition default to webpages that might equate, films that better show the themes, etc. It all works as allegory for our own experiences, but film simply speaks to me in its own "better" way. As a result, when I come up with lessons, I default to what movies or tv I could use with it, or what websites would help make the understanding easier for students. Even something like Shakespeare, Shelley, Donne, or Eliot, all of whom I've loved since I was a kid...I always look at the text as one part of a much larger picture. The unsung hero to all of this is games, which I also view as a huge part of educational understanding.
So there's my strength. My default is to incorporate this all together in a lesson, and without a computer and dvd-player to help me along, I'd have some huge adaptations within myself to make. That's my weakness. My weakness isn't in incorporating all of this. It's in finding myself in situations where I can't.
My DREAM class (one of two) is teaching a year-long class on screenwriting/shooting/editing.
The second dream class is debate, but there's another story.
My default, FYI, is the honor's/AP route. Hopefully my education/background helps me there.
so that prime dream class of teaching video production and screenwriting can't exist without my defaults, and it certainly can't exist without specific modeling/scaffolding using a hundred different programs. I really enjoyed our imovie assignment, specifically the part about using photos to do it. I'd love to make that an early component: giving students cameras and telling them to shoot pictures. still photos. make a short montage of it. Something like flickr and imovie combined would also work really well: asking them to pull available images and tell a story with them isn't too far off from early directing projects i've done in early directing classes. by the same token, digital comic books would be a good primer for storyboarding.
Thursday, December 2, 2010
videos!
I apparently sound REALLY geeky when I say it, but the below video is something I imagine hearing at a werewolf bonfire.
This first video is a Finntroll song, "Trollhammeren". Any metal from this region not about burning a church will be about a celebration of some kind...you just have to remember that we celebrate with more violence than you'd think. The entire point is celebration, and every shot furthers the speed of the song - count, if you dare, the amount of times someone pulls from a skin or a stein as he dances. I DARE you. There's very little linear progression to the video, it's more about expanding on the feeling of the song, and the song itself is fairly typical of finntroll in that it extols successful celebration. If it were being used to sell the music, I'd say it would do a great job among audiences not familiar with metal: rather than subject us to the norm of seeing closeups of everyone playing and make the video entirely about them playing the song, it constructs an optimal venue, and it does so in an aggressive, but non-violent way. To the metal-virgin, it says essentially that they're just about having some fun. The sound is primal (especially the use of drums throughout the song to create the bones of the song) and it's about addressing the primitive part of ourself.
This next video is a little different.
This is an older video, it's from Morbid Angel, the album is "Domination". They're a much more "typical" metal band in that they focus entirely on death metal and their goal is to scare the hell out of you. The video's pretty old, it was the official video for the song way back when Mtv used to play music. It focuses on everything the Finntroll video doesn't: it highlights the band, from the intro shot of the drummer's foot to the guitarist solo at the end. It is made solely to sell a very dark (but cool-sounding) product.
Contrast all of that to this:
This is "The Serpentine Offering" from the Dimmu Borgir album "In Sorte Diaboli". Great album. Fairly horrid videos when you look at the bluescreen work they do. They do a sort of amalgam of the two styles shown above. They present a narrative framework for their song: that of a feudal village inundated with primitive christianity, until they're brought to task by their old "gods". This is a common thematic motif in metal, that of the old gods we've forgotten still being relevant, and still watching us. The band also throws themselves into the video as musicians, with occasionally-hilarious results. You can see this even more clearly in the video "The Sacrilegious Scorn", which I will not post here, but highly suggest you look for it - in the video the band is on a bad blue screen of a storm front where they roll dice on an old frying pan and threaten each other. The goal here is a little more simple: they're doing wish-fulfillment, placing themselves in an environment they want to actually live in. The music on the posted video has the repeated lyric, "My descent is the story of every man, I am hatred, darkness, and despair." They insert that song into the imagery of the old scandinavian christian village in order to illustrate exactly what they're talking about...
This first video is a Finntroll song, "Trollhammeren". Any metal from this region not about burning a church will be about a celebration of some kind...you just have to remember that we celebrate with more violence than you'd think. The entire point is celebration, and every shot furthers the speed of the song - count, if you dare, the amount of times someone pulls from a skin or a stein as he dances. I DARE you. There's very little linear progression to the video, it's more about expanding on the feeling of the song, and the song itself is fairly typical of finntroll in that it extols successful celebration. If it were being used to sell the music, I'd say it would do a great job among audiences not familiar with metal: rather than subject us to the norm of seeing closeups of everyone playing and make the video entirely about them playing the song, it constructs an optimal venue, and it does so in an aggressive, but non-violent way. To the metal-virgin, it says essentially that they're just about having some fun. The sound is primal (especially the use of drums throughout the song to create the bones of the song) and it's about addressing the primitive part of ourself.
This next video is a little different.
This is an older video, it's from Morbid Angel, the album is "Domination". They're a much more "typical" metal band in that they focus entirely on death metal and their goal is to scare the hell out of you. The video's pretty old, it was the official video for the song way back when Mtv used to play music. It focuses on everything the Finntroll video doesn't: it highlights the band, from the intro shot of the drummer's foot to the guitarist solo at the end. It is made solely to sell a very dark (but cool-sounding) product.
Contrast all of that to this:
This is "The Serpentine Offering" from the Dimmu Borgir album "In Sorte Diaboli". Great album. Fairly horrid videos when you look at the bluescreen work they do. They do a sort of amalgam of the two styles shown above. They present a narrative framework for their song: that of a feudal village inundated with primitive christianity, until they're brought to task by their old "gods". This is a common thematic motif in metal, that of the old gods we've forgotten still being relevant, and still watching us. The band also throws themselves into the video as musicians, with occasionally-hilarious results. You can see this even more clearly in the video "The Sacrilegious Scorn", which I will not post here, but highly suggest you look for it - in the video the band is on a bad blue screen of a storm front where they roll dice on an old frying pan and threaten each other. The goal here is a little more simple: they're doing wish-fulfillment, placing themselves in an environment they want to actually live in. The music on the posted video has the repeated lyric, "My descent is the story of every man, I am hatred, darkness, and despair." They insert that song into the imagery of the old scandinavian christian village in order to illustrate exactly what they're talking about...
sharing of music
What I listen to most: a lot of metal lately. It's really hard though, after the age of 15 or so, to try and define yourself based on music, and I say I "metal" simply because it's the one I play most often lately. I switched over from cd's maybe six years ago, and when I put it all on an external drive the count was something like 120 gigs of music, that number's now at over 200. I listen to most of it fairly regularly, and it follows the basic trends of blues, jazz, polka, classic rock, instrumental, and metal. There's just...a little bit more metal than the rest. My primary reason for listening is simple in that it's loud, violent, and shows an incredible amount of artistry/musicianship that a lot of other genres tend to lack. Almost all of the metal I listen to is scandinavian black/death/doom/progressive metal, and the latter especially (progressive) is more experimental than anything, portraying very few of the stereotypical metal-tendencies. They'll incorporate any number of instruments to a song, so long as it sounds right in the end.
Concerts - almost entirely metal. I get bored otherwise. I've only been to one non-metal concert in the last six years, and it was an acoustic by a metal band. I just really hate having to sit still and just listen to some song, and metal doesn't really do seating. There's just a large pit in the center, and everyone roams freely.
It's the anger, aggression, and cynicism that really turns me on. The entire point to black and death metal is that everything is not all right, the symbols of our society are boned, and it's appropriate to fight against it. 60's folk metal has nothing on the guy who burned a church down because he decided that christianity is the greatest evil to befall norway EVER. Yeah...he's in jail. I don't really condone the violence obviously, in terms of physical action, but I appreciate the ethos. ESPECIALLY since it's often driven by that scandinavian paganism (note that's lower-cased, pagans are not organized. idiot wiccans) that appeals to my childhood misconceptions where the myths were real...that's a whole 'nother story.
The song I'll be bringing in for this: what I'll show in class largely depends on the mood. I don't really have a singular favorite, and I don't really have a singular favorite genre. So I'll play whatever seems fitting at the time, and this also depends on whether or not I can play NSFW songs. Options:
Vintersorg
Morbid Angel
Diabolical Masquerade
Opeth
Tom Waits
Mac Wiseman
Finntroll
Sepultura
How I would teach this in the classroom: first, I don't know if I could. IF I did, it would be either from a historical perspective using tribalism as a moniker, and use something like Sepultura or Finntroll for that, or else I would do it from the perspective of creative soundtracks to personal movies, using Vintersorg as an example of symphony.
It's all very primal, and a lot of it depends on a more tribal structure. They often rebel against large governments with any kind of malicious power over them. It's sort of like the Norse version of rap in terms of what it accomplishes. And just like rap, there's a lot of commercialist crap on the market. So I could also use this in the classroom as a sort of media literacy/awareness unit and ask students to dissect different examples in order to determine why it's made. Is the music made only to be sold (a very american thing generally) or is it made for its own sake or some greater artistic purpose? What does it say when entertainment is packaged solely for consumption?
Historical context of the genre...or at least the sub-genres I listen to: oftentimes they're started in a ludditical fashion. Swedish/Norwegian/Germans who have no interest in the prevailing ethos of the modern world, and work towards a fusion between what came before and what ought to be. Oftentimes this boils down to paganism/religious freedom and a fully democratic-socialist government. I recently learned there is an actual group of knuckleheads who claim to do christian metal. That...doesn't really work. It flies in the face of everything.
In contrast to genres of metal such as american thrash, black/death metal tends to look for old sounds and infuse them into modern. Example: Finntroll is a metal band, it's also a polka band. More specfically, it's humpaa metal, using the darker and faster scandinavian version of polka as a basis for its sound.
Diabolical Masquerade or Dimmu Borgir tend to go in a different direction, using full orchestras as a spine for their songs.
Their videos...
let's just say they're not the norm. They are very esoteric, oftentimes constructing a visual narrative out of the song's narrative. If you've ever seen the show metalocalypse, you've seen a pretty good parody of this in the first season (i believe it's the second episode), where they show almost the entirety of a song called "thunderhorse" before their lead singer pulls the plug on it. The video in the episode shot for using all of the stereotypes in a bad metal video: apocalyptic, feudal system, main character as a mighty old-school warrior who beheads everyone in his way, etc. They're rarely made to be sold, often only up on the band/artist's website as an extra for fans.
Concerts - almost entirely metal. I get bored otherwise. I've only been to one non-metal concert in the last six years, and it was an acoustic by a metal band. I just really hate having to sit still and just listen to some song, and metal doesn't really do seating. There's just a large pit in the center, and everyone roams freely.
It's the anger, aggression, and cynicism that really turns me on. The entire point to black and death metal is that everything is not all right, the symbols of our society are boned, and it's appropriate to fight against it. 60's folk metal has nothing on the guy who burned a church down because he decided that christianity is the greatest evil to befall norway EVER. Yeah...he's in jail. I don't really condone the violence obviously, in terms of physical action, but I appreciate the ethos. ESPECIALLY since it's often driven by that scandinavian paganism (note that's lower-cased, pagans are not organized. idiot wiccans) that appeals to my childhood misconceptions where the myths were real...that's a whole 'nother story.
The song I'll be bringing in for this: what I'll show in class largely depends on the mood. I don't really have a singular favorite, and I don't really have a singular favorite genre. So I'll play whatever seems fitting at the time, and this also depends on whether or not I can play NSFW songs. Options:
Vintersorg
Morbid Angel
Diabolical Masquerade
Opeth
Tom Waits
Mac Wiseman
Finntroll
Sepultura
How I would teach this in the classroom: first, I don't know if I could. IF I did, it would be either from a historical perspective using tribalism as a moniker, and use something like Sepultura or Finntroll for that, or else I would do it from the perspective of creative soundtracks to personal movies, using Vintersorg as an example of symphony.
It's all very primal, and a lot of it depends on a more tribal structure. They often rebel against large governments with any kind of malicious power over them. It's sort of like the Norse version of rap in terms of what it accomplishes. And just like rap, there's a lot of commercialist crap on the market. So I could also use this in the classroom as a sort of media literacy/awareness unit and ask students to dissect different examples in order to determine why it's made. Is the music made only to be sold (a very american thing generally) or is it made for its own sake or some greater artistic purpose? What does it say when entertainment is packaged solely for consumption?
Historical context of the genre...or at least the sub-genres I listen to: oftentimes they're started in a ludditical fashion. Swedish/Norwegian/Germans who have no interest in the prevailing ethos of the modern world, and work towards a fusion between what came before and what ought to be. Oftentimes this boils down to paganism/religious freedom and a fully democratic-socialist government. I recently learned there is an actual group of knuckleheads who claim to do christian metal. That...doesn't really work. It flies in the face of everything.
In contrast to genres of metal such as american thrash, black/death metal tends to look for old sounds and infuse them into modern. Example: Finntroll is a metal band, it's also a polka band. More specfically, it's humpaa metal, using the darker and faster scandinavian version of polka as a basis for its sound.
Diabolical Masquerade or Dimmu Borgir tend to go in a different direction, using full orchestras as a spine for their songs.
Their videos...
let's just say they're not the norm. They are very esoteric, oftentimes constructing a visual narrative out of the song's narrative. If you've ever seen the show metalocalypse, you've seen a pretty good parody of this in the first season (i believe it's the second episode), where they show almost the entirety of a song called "thunderhorse" before their lead singer pulls the plug on it. The video in the episode shot for using all of the stereotypes in a bad metal video: apocalyptic, feudal system, main character as a mighty old-school warrior who beheads everyone in his way, etc. They're rarely made to be sold, often only up on the band/artist's website as an extra for fans.
Thursday, November 25, 2010
11/18 documentary analysis
the doc i watched was "flock of dodos". its primary purpose is an analysis of the intelligent design v. evolution argument and a charting of its genesis as creationism into a weapon of "scientific theory". within this is a singular argument, followed by a few sub-arguments. the argument: intelligent design is nothing more than an idea. it is not science, it is purely faith and is being posited as science in order for a few ultra-conservative/religious members of some school boards to avoid teaching scientific method. it further posits that evolution is under this kind of attack due to failures of communication among biologists. rather than speak as human beings, they speak in scientific jargon and it becomes difficult to follow the sheer amount of data proving evolution.
HOWEVER: the film does not demonize proponents of intelligent design. it meets with several school board members pro-intelligent design (or more accurately, against evolution) as well as some of the major national figures in the pro-intelligent design community. the filmmaker, former marine/molecular biologist-turned-filmmaker randy olson, goes to great pains in order to explicitly state that these people are not bad people, many of them are in fact great people who are merely uneducated and the onus is on the scientific community to change their discourse in order to accurately convey the truth of the theory in evolution. he furthermore states, through wonderful graphic representations, the importance of education in "filling the gaps of knowledge" in order to know the universe.
Olson's primary technique is humour: the title "flock of dodos" is a self-deprecating statement which can refer to his own scientific school (destined for extinction) or later in the film to the failures of intelligent design (famously defeated in 2004). he employs very few talking head-style interviews, instead focusing on human interviews with experts, lay-people, and his own mother's perspective. this is interspersed with humorous animations and historical footage on the subject.
it succeeds in its endeavours through that humor. it doesn't aim to preach to the intelligent-design masses, merely to point out that they can't participate in scientific discourse as-is simply because their "theory" is not a theory by the rules they claim to play by...it is instead a mere idea, untested and untestable other than by fallacy. the film also places a lot of blame on the over-intellecualization of evolutionary theorists, people who truly know what they're doing but are unable/unwilling to speak to the "common" man.
based on this film is the student activity of examination of argument. documentaries tend to have an interesting perspective because they often seek what is seen as a "wrong" and make an argument as to why it ought to be otherwise. errol morris' "thin blue line" or joe berlinger's "paradise lost" do this famously: they spot what they see as a social injustice (the wrongly-convicted) and make an argument in favor of release. my activity, therefore, is simple:
find an argument. in a documentary of the student's choice (or depending on context, among a list designated by the teacher) and state what the argument is, and how it follows the basic principles of communication. this activity would be prefaced on the basics of argumentation as a communication tool and the students would be provided with the characteristics of an argument. the student would then be required to go down this list of characteristics:
1. an inferential leap
2. a perceived rationale for the leap
3. a choice among competing claims
4. willingness to confront
5. an optimally shared frame of reference
within the film chosen, the student will be asked to go through these characteristics and show where/if these characteristics are present. from here, in groups of three, the students share their results: what are the common arguments they see? what characteristics seem to be shown? is the argument one of persuasion?
HOWEVER: the film does not demonize proponents of intelligent design. it meets with several school board members pro-intelligent design (or more accurately, against evolution) as well as some of the major national figures in the pro-intelligent design community. the filmmaker, former marine/molecular biologist-turned-filmmaker randy olson, goes to great pains in order to explicitly state that these people are not bad people, many of them are in fact great people who are merely uneducated and the onus is on the scientific community to change their discourse in order to accurately convey the truth of the theory in evolution. he furthermore states, through wonderful graphic representations, the importance of education in "filling the gaps of knowledge" in order to know the universe.
Olson's primary technique is humour: the title "flock of dodos" is a self-deprecating statement which can refer to his own scientific school (destined for extinction) or later in the film to the failures of intelligent design (famously defeated in 2004). he employs very few talking head-style interviews, instead focusing on human interviews with experts, lay-people, and his own mother's perspective. this is interspersed with humorous animations and historical footage on the subject.
it succeeds in its endeavours through that humor. it doesn't aim to preach to the intelligent-design masses, merely to point out that they can't participate in scientific discourse as-is simply because their "theory" is not a theory by the rules they claim to play by...it is instead a mere idea, untested and untestable other than by fallacy. the film also places a lot of blame on the over-intellecualization of evolutionary theorists, people who truly know what they're doing but are unable/unwilling to speak to the "common" man.
based on this film is the student activity of examination of argument. documentaries tend to have an interesting perspective because they often seek what is seen as a "wrong" and make an argument as to why it ought to be otherwise. errol morris' "thin blue line" or joe berlinger's "paradise lost" do this famously: they spot what they see as a social injustice (the wrongly-convicted) and make an argument in favor of release. my activity, therefore, is simple:
find an argument. in a documentary of the student's choice (or depending on context, among a list designated by the teacher) and state what the argument is, and how it follows the basic principles of communication. this activity would be prefaced on the basics of argumentation as a communication tool and the students would be provided with the characteristics of an argument. the student would then be required to go down this list of characteristics:
1. an inferential leap
2. a perceived rationale for the leap
3. a choice among competing claims
4. willingness to confront
5. an optimally shared frame of reference
within the film chosen, the student will be asked to go through these characteristics and show where/if these characteristics are present. from here, in groups of three, the students share their results: what are the common arguments they see? what characteristics seem to be shown? is the argument one of persuasion?
news broadcast dissection
broadcast watched: KARE 11, 6pm broadcast on 11/22/2010.
I started watching five minutes early, catching the end of the 5.30 national broadcast. this was the day after the large storm front of freezing rain/snow, and the pre-news promo was a blurb about the storm and a man talking about covering a 24-hour shift throughout the holidays to keep up. this was interspersed with pre-morning footage of snowplows and trucks driving down clogged city streets. this went for 30 seconds. it was followed immediately by news that Brad Childress, head coach for the MN vikings, had been fired that morning. A brief excerpt of an interview with the vikings owner was shown, and this lasted another 15 seconds to introduce the show.
the ACTUAL show opened with sports, and Childress being fired. Gotta be honest, it took Jim Hatten and Jack Nilles TELLING me who brad childress was for me to figure this one out. It went directly to the sportscaster offering his opinion on what is apparently the biggest news affecting Minnesotans...he dissected the owner's press conference as well as the players' reactions, in addition to the packers loss that resulted in the firing. then they went to the interim head coach talking about what he'll do to make a difference. this was two minutes.
second was a human interest blurb...on Brad Childress and an interview w/him and his wife. this lasted 45 seconds with one quote from Mrs. Childress, and then went into a whoring for the KARE 11 website, and how we can see the entire interview there as well as a sneak-peek at some grandiose holiday-themed series of interviews the co-anchor is doing.
total time for sports - 2 min 45 seconds.
then weather! it went to weather after a cutesy blurb from the anchors. it was all about fear of reaching holiday destinations and how MNDOT was unprepared for the weekend freeze. a brief statement about the weekend accidents existed, then a further blurb from the MNDOT rep of the promo talking about how they'll keep going.
--- and of course airports and ice, with a brief blurb from a MSP rep about how snow isn't an issue and won't stop them.
--- this was one min 30 sec, and then went to Belinda Jensen, the pretty apple-faced meteorologist dressed immaculately yet cutely in a faux-deerstalker get-up. she went into the fears for the next few days and how it will warm up briefly, for the snow to royally screw us. This went another 1 minute 40 seconds, including a cg map of the state and weather fronts, and pretty belinda's assurances that she'll work hard to find concrete answers to what weather the state will face over the weekend.
Tally, just covering Vikings and weather (are these really the biggest stories, you dunces?), nearly five minutes...
back to the anchors, a MN man who went to jail for pointing a gun at another driver during "road rage gone wrong" in St. Cloud. The anchor made a point of saying the victim had his wife and young children in the car. this went 30 seconds and went to a teaser for the commercial about the gubernatorial recount, and more about heavy snow incoming...
back in - MN supreme court ruling which OK's the recount for the election. this story, which included how ballots are counted and how that plays into the decision for the recount. 1 min 40 seconds.
state canvassing board and recounts, as well as dayton's current lead, 10 sec
twins mgr won an award for manager of the year and a contract extension, this went into "appreciation days" for the manager. 20 sec.
it segued, before i even realized what had happened, into "snowplow driver appreciation day" in WI, 15 sec.
then another commercial and another promo for weather/sports...again upcoming. and a promo for tech gadgets and holiday shopping. "what's new and what you need to know, monday night at 10." - 15 sec.
commercials on how KARE 11 is "walking to end hunger at the MOA nov 25th"
the news is back on - ND and MN and snowfall, low temp, and how the storm system also caused tornadoes in WI. 30 sec.
back to Belinda and weather - and her supposed "expertise" on weather, more about how weather incoming (completely rehashed from a whopping five minutes ago). current weather, road conditions, weather for tomorrow through thursday. more pretty maps. 3 min 50 sec.
back to randy shaver and sports - vikings and no playoff chance, childress fired and the players hated him. another blurb with the vikings coach and the appointment of the interim head coach. some lip service on some player named brett farve being an opening qb and more from the int head coach. 3 min on just pro football...high school football in the state came up next. college ball next. total time on sports, 3 min 55 sec and then more teasers for post-commercial. then commercials, starting with one for the NBC nightly news.
back to the news. anchor intros a story on christmas - the delivery of a 30-ft-tall spruce to the governor's mansion. where it came from, how much it weighs, how pretty it apparently is, and jokes about placing such a large tree. it closes on this. apparently i'm supposed to like them. this final piece, including pedantic joking, 50 sec.
it led into entertainment tonight, where apparently sarah palin's daughter is something worth talking about.
ugh. see my previous post on a news assignment for students.
I started watching five minutes early, catching the end of the 5.30 national broadcast. this was the day after the large storm front of freezing rain/snow, and the pre-news promo was a blurb about the storm and a man talking about covering a 24-hour shift throughout the holidays to keep up. this was interspersed with pre-morning footage of snowplows and trucks driving down clogged city streets. this went for 30 seconds. it was followed immediately by news that Brad Childress, head coach for the MN vikings, had been fired that morning. A brief excerpt of an interview with the vikings owner was shown, and this lasted another 15 seconds to introduce the show.
the ACTUAL show opened with sports, and Childress being fired. Gotta be honest, it took Jim Hatten and Jack Nilles TELLING me who brad childress was for me to figure this one out. It went directly to the sportscaster offering his opinion on what is apparently the biggest news affecting Minnesotans...he dissected the owner's press conference as well as the players' reactions, in addition to the packers loss that resulted in the firing. then they went to the interim head coach talking about what he'll do to make a difference. this was two minutes.
second was a human interest blurb...on Brad Childress and an interview w/him and his wife. this lasted 45 seconds with one quote from Mrs. Childress, and then went into a whoring for the KARE 11 website, and how we can see the entire interview there as well as a sneak-peek at some grandiose holiday-themed series of interviews the co-anchor is doing.
total time for sports - 2 min 45 seconds.
then weather! it went to weather after a cutesy blurb from the anchors. it was all about fear of reaching holiday destinations and how MNDOT was unprepared for the weekend freeze. a brief statement about the weekend accidents existed, then a further blurb from the MNDOT rep of the promo talking about how they'll keep going.
--- and of course airports and ice, with a brief blurb from a MSP rep about how snow isn't an issue and won't stop them.
--- this was one min 30 sec, and then went to Belinda Jensen, the pretty apple-faced meteorologist dressed immaculately yet cutely in a faux-deerstalker get-up. she went into the fears for the next few days and how it will warm up briefly, for the snow to royally screw us. This went another 1 minute 40 seconds, including a cg map of the state and weather fronts, and pretty belinda's assurances that she'll work hard to find concrete answers to what weather the state will face over the weekend.
Tally, just covering Vikings and weather (are these really the biggest stories, you dunces?), nearly five minutes...
back to the anchors, a MN man who went to jail for pointing a gun at another driver during "road rage gone wrong" in St. Cloud. The anchor made a point of saying the victim had his wife and young children in the car. this went 30 seconds and went to a teaser for the commercial about the gubernatorial recount, and more about heavy snow incoming...
back in - MN supreme court ruling which OK's the recount for the election. this story, which included how ballots are counted and how that plays into the decision for the recount. 1 min 40 seconds.
state canvassing board and recounts, as well as dayton's current lead, 10 sec
twins mgr won an award for manager of the year and a contract extension, this went into "appreciation days" for the manager. 20 sec.
it segued, before i even realized what had happened, into "snowplow driver appreciation day" in WI, 15 sec.
then another commercial and another promo for weather/sports...again upcoming. and a promo for tech gadgets and holiday shopping. "what's new and what you need to know, monday night at 10." - 15 sec.
commercials on how KARE 11 is "walking to end hunger at the MOA nov 25th"
the news is back on - ND and MN and snowfall, low temp, and how the storm system also caused tornadoes in WI. 30 sec.
back to Belinda and weather - and her supposed "expertise" on weather, more about how weather incoming (completely rehashed from a whopping five minutes ago). current weather, road conditions, weather for tomorrow through thursday. more pretty maps. 3 min 50 sec.
back to randy shaver and sports - vikings and no playoff chance, childress fired and the players hated him. another blurb with the vikings coach and the appointment of the interim head coach. some lip service on some player named brett farve being an opening qb and more from the int head coach. 3 min on just pro football...high school football in the state came up next. college ball next. total time on sports, 3 min 55 sec and then more teasers for post-commercial. then commercials, starting with one for the NBC nightly news.
back to the news. anchor intros a story on christmas - the delivery of a 30-ft-tall spruce to the governor's mansion. where it came from, how much it weighs, how pretty it apparently is, and jokes about placing such a large tree. it closes on this. apparently i'm supposed to like them. this final piece, including pedantic joking, 50 sec.
it led into entertainment tonight, where apparently sarah palin's daughter is something worth talking about.
ugh. see my previous post on a news assignment for students.
Thursday, November 11, 2010
news activity.
There will be an analysis of a news broadcast in the next few weeks, whenever I get to a television...
This activity is meant to be done over 2-3 days in small pieces. To be honest, I feel it's a good "pre-reading" activity in order to start an entire unit on media bias/marketing, and as such kept that in mind as a larger focus when writing this.
If it bleeds, it leads
Start with an introductory poll, either informally through class discussion, or in a written form (recommended) via entrance ticket - do you watch the news? Why or why not? If you do watch a news broadcast, do you choose a specific one regularly and is it for the news broadcast itself? If you don't, what is your reasoning?
From here, break the students into groups of 3-4 with an even mix of yes/no's between each group. Ask them to discuss/argue their reasoning on either side.
--- Example: Jeff watches the 10pm news on NBC solely because it's a lead-in to a show he does like. Amy watches the same NBC broadcast every night because she feels the show possesses a lack of bias and turns the tv off right after. By contrast, Jennifer doesn't watch anything because they don't spend enough time on what she's interested in. She instead looks at a few websites every day or so.
Assign each group two networks. Each group will view and make notes on the two broadcasts, comparing the two to see what each network does: do they devote similar times to the same issues? does one network broadcast seem to report a candidate (if applicable) that the other does not? The groups will pay particular attention to the lead-in hype (can be commercials pre-show or the first few sentences of the broadcast). What do these networks report on first?
Compare these two broadcasts deepy: do they follow a similar format/time structure? What is that leading story? Students will often find that the lead story is one of two or three things: corruption in police, local violent crime, or local dangerous weather patterns.
Pulling back into a large group, students will then all compare notes to develop a consensus between all networks: what does it mean when they open, and spend most of their time on, stories designed to scare?
This activity is meant to be done over 2-3 days in small pieces. To be honest, I feel it's a good "pre-reading" activity in order to start an entire unit on media bias/marketing, and as such kept that in mind as a larger focus when writing this.
If it bleeds, it leads
Start with an introductory poll, either informally through class discussion, or in a written form (recommended) via entrance ticket - do you watch the news? Why or why not? If you do watch a news broadcast, do you choose a specific one regularly and is it for the news broadcast itself? If you don't, what is your reasoning?
From here, break the students into groups of 3-4 with an even mix of yes/no's between each group. Ask them to discuss/argue their reasoning on either side.
--- Example: Jeff watches the 10pm news on NBC solely because it's a lead-in to a show he does like. Amy watches the same NBC broadcast every night because she feels the show possesses a lack of bias and turns the tv off right after. By contrast, Jennifer doesn't watch anything because they don't spend enough time on what she's interested in. She instead looks at a few websites every day or so.
Assign each group two networks. Each group will view and make notes on the two broadcasts, comparing the two to see what each network does: do they devote similar times to the same issues? does one network broadcast seem to report a candidate (if applicable) that the other does not? The groups will pay particular attention to the lead-in hype (can be commercials pre-show or the first few sentences of the broadcast). What do these networks report on first?
Compare these two broadcasts deepy: do they follow a similar format/time structure? What is that leading story? Students will often find that the lead story is one of two or three things: corruption in police, local violent crime, or local dangerous weather patterns.
Pulling back into a large group, students will then all compare notes to develop a consensus between all networks: what does it mean when they open, and spend most of their time on, stories designed to scare?
Wednesday, November 10, 2010
Hrm...
apparently no news broadcast does torrents or online streaming. this is complicating things for someone with no tv...
Thursday, November 4, 2010
sci-fi
my absolute FAVOURITE cinema genre is the sci-fi area. This isn't because there are very many good examples, but purely because it's the area with the most promise. It's an area that divorces itself from films roots in drama and literature, becoming a purely cinematic style. Films such as "Metropolis", "2001", or "Dark City" truly show just how far film as its own unique form can go in terms of creative expression.
Unfortunately, it's also incredibly easy to make a cheap, bad sci-fi movie. In the earlier days of cinema, this was easy to spot: something like "This Island Earth" or the slew of pulp monster movies were based on the principle of "man-in-suit terrorizes bad actors". More recently, it's become a source of knowing humor. Make the worst science fiction movie you can, and it moves away from bad into funny:
With the advent of CG imagery, it's become more dicey. It's hard to tell if it's good or bad based solely on (for example) a trailer, requiring you to actually see the movie to figure it out. Dips into sci-fi horror with movies such as "Underworld" fit this to a tee.
Conventions of character don't exist as a whole, but in the more by-the-numbers example, you'll often have the intrepid space-farer, hard-bitten cop looking for that something weird, etc. This protagonist often has a flimsy background in which he is the best at whatever he does, but lost someone as a result of his job. combined to this is often the damsel in distress who outwardly SEEMS as powerful as the protagonist, but quickly falls into the one who must be saved when actual trouble comes up.
See "Event Horizon" for the epitome of this. Horrid movie.
No matter how you look at it, science fiction depends on one element: the "other". For the purposes of cinema criticism, the term becomes more of a jungian catch-all for aspects of self (or, sometimes, other characters) which are unknown and therefore terrifying. The best science fiction embraces it in a way only the Western has been able to do. "Metropolis" had the mysterious people living in the city, those who seemed nefarious and proved to be mechanical in origin. Their enslavement of humans to keep the world running was the critical point to the film. "Dark City" inverted this: humans lived in a seemingly normal world, but there were strange oddities about, which proved to be the product of a strange and mysterious group living underneath, powering the city as a part of a grand social experiment.
Setting: the most common setting is ELSEWHERE. Space has become the most common area to set science fiction in the last fifty years, due solely to the fact that it is considered the "last frontier". I mentioned above that the genre embraces "the Other" as a point of conflict and only the Western did the same. The key similarity here is that both the Western and Science Fiction work because of the frontier mentality. The other exists on the fringe or outside of society. It is that which is unknown that we are wary of. The western's death, it can be argued, is due to the settlement of the west by what we call civilization, leaving little else to the imagination. It's hard to imagine the Indian as "Other" when we've cut away propaganda and have learned that the Indian is merely us.
Space is the most common, but far from the only area. Our own world, while commonly considered "known", is in fact still filled with mystery. Films such as "The Abyss" capitalizes on the fact that we know less about our ocean floor than we do about the moon. It hypothesizes intelligent life far beyond our own capabilities living on the bottom of the sea, and the threats it can pose us.
Quite often, technology advancement is the key point behind science fiction...but not always! Areas such as the post-apocalyptic film "The Road" can be argued as science fiction, and engage themselves solely based on the LACK of technology. That which is different from our own familiarity becomes science fiction. It can be more accurately stated that "technology differences" from our own norm is the commonality. Even sci-fi dealing with supernatural elements (think "Underworld") deal with technological innovation to solve the key problems. While the movie was certainly god-awful, you can't argue that they deal with classical horror conventions (vampires and werewolves) and embed a strong science-fiction principle in their fantastical weaponry used to fight them.
The basic features of the story:
The characters may be flawed or classical, but the common link between them all is resolve to deal with the problem at-hand. While they are well-versed in the advantages of the technological marvels around them, it is their strength of character that defines them as unique: Captain Kirk isn't just the best with the technology around him...he's a stunning judge of character with a brilliant mind, and this is how he wins.
Problems almost always deal with death: either unknown forces outside of the frontier attack us as a species, or the frontier itself proves to be an adversary (2001 makes famous use of this).
The two basic assumptions going in: first, the world is more than what we can see, more than what we know. What is outside our comprehension can kill us, or aid us. Only understanding creates benefit. second, our technology is the key aspect to our world. Taking it away will devolve us into monsters, adding more will aid us, and the "Other" will always be able to overcome it.
Its goals: its primary goal is often in allegory. The films will argue one of two things: either our path of technological innovation will save us, or it will damn us. More recently, the latter view has fallen away, and the commonality in much of modern science fiction is that our technology, and our resolution/ability to use it wisely, is what will save us as a species. More classically, it's been far more cautionary. Science fiction can trace roots all the way back to early mythology. The most famous example is that of Prometheus, he who gave fire (technology) to man was punished for allowing us to use that which should only belong to the gods. This was continued not only in stories but in popular feeling til the modern day, seen most powerfully in "Frankenstein": here, man LITERALLY plays god with his use of technological innovation, and it kills him for having the nerve to play in a god's domain. Within this, of course, is Dr. Frankenstein's struggles. Note that he looked upon his creation with horror. When faced with the sheer power of what he'd done, he couldn't act and use his creation responsibly.
Lesson Plan/Activity:
A history of the genre!
First, in groups of three, the class will brainstorm 3 ways which technology helps them, and 3 ways it hurts them. These instructions should be kept this vague in order to allow the student to see it as he/she sees fit...anything from "my cell phone lets me talk to friends more" to "automobiles kill more people than the bubonic plague" become acceptable.
Second, in a large group, we discuss. Each group lays out their three of each category, and they're listed on the board. A "master list" is created. The top three from each side. Then they're examined: imagine the flip side to each one. Example: the cell phone lets you talk to friends more, but does it invade into time you could/would be spending in more productive, happier ways?
Third, we move into the aims of science fiction. Can we take them "literally"? If not, what purpose do these stories serve? What do they tell us about our own society?
Choose three science fiction movies and examine: what do they enlighten to us about our own world. This enlightenment can be based upon society or purely technological innovation.
Examples:
Metropolis
Dark City
2001
Star Wars
What does this "other" mean? Who do they REALLY represent? Authority? Chaos?
Unfortunately, it's also incredibly easy to make a cheap, bad sci-fi movie. In the earlier days of cinema, this was easy to spot: something like "This Island Earth" or the slew of pulp monster movies were based on the principle of "man-in-suit terrorizes bad actors". More recently, it's become a source of knowing humor. Make the worst science fiction movie you can, and it moves away from bad into funny:
With the advent of CG imagery, it's become more dicey. It's hard to tell if it's good or bad based solely on (for example) a trailer, requiring you to actually see the movie to figure it out. Dips into sci-fi horror with movies such as "Underworld" fit this to a tee.
Conventions of character don't exist as a whole, but in the more by-the-numbers example, you'll often have the intrepid space-farer, hard-bitten cop looking for that something weird, etc. This protagonist often has a flimsy background in which he is the best at whatever he does, but lost someone as a result of his job. combined to this is often the damsel in distress who outwardly SEEMS as powerful as the protagonist, but quickly falls into the one who must be saved when actual trouble comes up.
See "Event Horizon" for the epitome of this. Horrid movie.
No matter how you look at it, science fiction depends on one element: the "other". For the purposes of cinema criticism, the term becomes more of a jungian catch-all for aspects of self (or, sometimes, other characters) which are unknown and therefore terrifying. The best science fiction embraces it in a way only the Western has been able to do. "Metropolis" had the mysterious people living in the city, those who seemed nefarious and proved to be mechanical in origin. Their enslavement of humans to keep the world running was the critical point to the film. "Dark City" inverted this: humans lived in a seemingly normal world, but there were strange oddities about, which proved to be the product of a strange and mysterious group living underneath, powering the city as a part of a grand social experiment.
Setting: the most common setting is ELSEWHERE. Space has become the most common area to set science fiction in the last fifty years, due solely to the fact that it is considered the "last frontier". I mentioned above that the genre embraces "the Other" as a point of conflict and only the Western did the same. The key similarity here is that both the Western and Science Fiction work because of the frontier mentality. The other exists on the fringe or outside of society. It is that which is unknown that we are wary of. The western's death, it can be argued, is due to the settlement of the west by what we call civilization, leaving little else to the imagination. It's hard to imagine the Indian as "Other" when we've cut away propaganda and have learned that the Indian is merely us.
Space is the most common, but far from the only area. Our own world, while commonly considered "known", is in fact still filled with mystery. Films such as "The Abyss" capitalizes on the fact that we know less about our ocean floor than we do about the moon. It hypothesizes intelligent life far beyond our own capabilities living on the bottom of the sea, and the threats it can pose us.
Quite often, technology advancement is the key point behind science fiction...but not always! Areas such as the post-apocalyptic film "The Road" can be argued as science fiction, and engage themselves solely based on the LACK of technology. That which is different from our own familiarity becomes science fiction. It can be more accurately stated that "technology differences" from our own norm is the commonality. Even sci-fi dealing with supernatural elements (think "Underworld") deal with technological innovation to solve the key problems. While the movie was certainly god-awful, you can't argue that they deal with classical horror conventions (vampires and werewolves) and embed a strong science-fiction principle in their fantastical weaponry used to fight them.
The basic features of the story:
The characters may be flawed or classical, but the common link between them all is resolve to deal with the problem at-hand. While they are well-versed in the advantages of the technological marvels around them, it is their strength of character that defines them as unique: Captain Kirk isn't just the best with the technology around him...he's a stunning judge of character with a brilliant mind, and this is how he wins.
Problems almost always deal with death: either unknown forces outside of the frontier attack us as a species, or the frontier itself proves to be an adversary (2001 makes famous use of this).
The two basic assumptions going in: first, the world is more than what we can see, more than what we know. What is outside our comprehension can kill us, or aid us. Only understanding creates benefit. second, our technology is the key aspect to our world. Taking it away will devolve us into monsters, adding more will aid us, and the "Other" will always be able to overcome it.
Its goals: its primary goal is often in allegory. The films will argue one of two things: either our path of technological innovation will save us, or it will damn us. More recently, the latter view has fallen away, and the commonality in much of modern science fiction is that our technology, and our resolution/ability to use it wisely, is what will save us as a species. More classically, it's been far more cautionary. Science fiction can trace roots all the way back to early mythology. The most famous example is that of Prometheus, he who gave fire (technology) to man was punished for allowing us to use that which should only belong to the gods. This was continued not only in stories but in popular feeling til the modern day, seen most powerfully in "Frankenstein": here, man LITERALLY plays god with his use of technological innovation, and it kills him for having the nerve to play in a god's domain. Within this, of course, is Dr. Frankenstein's struggles. Note that he looked upon his creation with horror. When faced with the sheer power of what he'd done, he couldn't act and use his creation responsibly.
Lesson Plan/Activity:
A history of the genre!
First, in groups of three, the class will brainstorm 3 ways which technology helps them, and 3 ways it hurts them. These instructions should be kept this vague in order to allow the student to see it as he/she sees fit...anything from "my cell phone lets me talk to friends more" to "automobiles kill more people than the bubonic plague" become acceptable.
Second, in a large group, we discuss. Each group lays out their three of each category, and they're listed on the board. A "master list" is created. The top three from each side. Then they're examined: imagine the flip side to each one. Example: the cell phone lets you talk to friends more, but does it invade into time you could/would be spending in more productive, happier ways?
Third, we move into the aims of science fiction. Can we take them "literally"? If not, what purpose do these stories serve? What do they tell us about our own society?
Choose three science fiction movies and examine: what do they enlighten to us about our own world. This enlightenment can be based upon society or purely technological innovation.
Examples:
Metropolis
Dark City
2001
Star Wars
What does this "other" mean? Who do they REALLY represent? Authority? Chaos?
Tuesday, November 2, 2010
haven't forgotten...
i'll be posting something in-depth on fantasy/sci-fi/horror in cinema. probably tomorrow or thursday morning, whenever time allows. from there i'll build a powerpoint with google docs...i'm so excited? I've never used web-based presentation stuff successfully before, but google doc seems a lot more stable than the norm, so it shouldn't be aggravating or anything. I'll post a link to it through here as well as through the wiki.
Thursday, October 28, 2010
ethnography
For my ethnography, I'll be (once again!) focusing on Warcraft. Since I spoke a little bit about this last week, I might re-cover some ground already trodden upon before. If that happens...my bad? I'll do my best to keep my exposition "new".
I played for four years. First I was a horde shaman and an alliance hunter. When raid-time came (read: when my characters got high-level) I trounced the then-broken shaman class in favour of a more entertaining dps class: the hunter. When BC came along, I dumped the hunter in favour of a healing class...the now-fixed restoration-specced shaman. I played that all the way through BC and into Wrath, becoming a pretty premiere healer on a very full server.
So let's start by picking apart what I just said. I'd be willing to bet most of what I said makes little sense to anyone not playing WoW on a regular basis.
Horde --- a lose confederacy of "monster" races on the fictional world of Azeroth. Headed by orcs, the confederacy also boasts trolls, tauren (giant cow-men) and undead.
Alliance --- a somewhat tighter confederacy of less "monstrous" races on the same world. Headed by the humans, it has night-elves, dwarves, and gnomes.
BC --- short for "Burning Crusade". the first REAL expansion of the game. It expanded the level cap from 60-70, introduced new character professions, and added the world of Draenor, the home-world of the orcs before they moved to Azeroth. It also added the race of Draenei to the alliance, and blood-elf to the horde.
Wrath --- short for "Wrath of the Lich King", the latest expansion. it brought the game's action back to azeroth, opening the northern continent for play as well as opening the character class of death knight. There is also a new expansion, titled "Cataclysm" due to be released at the end of this month.
Shaman --- a multi-ability class in the game. they rely on totems to support magic abilities.
Hunter --- a damage-dealing class in the game. they rely on ranged weaponry (bows or guns) and a pet for support damage.
dps --- Damage Per Second --- the damage-dealing character in any group. Other class options are tank (the character taking damage to protect other party members) and healer.
spec --- specialization. a character has three trees to put talent points into (available at every level) and the place more points are placed into is the "spec" of the character.
Server --- self-explanatory --- some servers have a higher population than others. the higher your population, the bigger your economy and the easier it is to get a group.
It's "server" that provides the biggest crux to understanding warcraft: the sense of isolated community and fracturings within. your server is your world. your character is an extension of you. your ABILITIES in the game determine your stature in your server-world, and you are referred to as your character and defined by your talent spec.
The game as a whole, regardless of server, has a basic vocabulary based upon the lore of the game and the mechanics of playing. Entire websites (elitistjerks.com being the most significant) are built upon understanding the actual mechanics of how a character class works and how to play to the limits of its ability. Other websites (such as wowwiki.com) are constructed around understanding the lore. We're not talking about isolated areas. We're talking an entire list of jargon that can approach its own language, based entire on lore understanding, character mechanics, and more generalized uses of net-based abbreviations. For example:
"WTB 200 Sar Ore, PST" --- translation --- "Want to buy 200 saronite ore, please send tell"
--- even TRANSLATING this opens up another questioning --- what the hell is saronite ore? it's a mineral, mined by characters with the mining profession throughout the world, and used for a variety of other professions. Each profession has its own created jargon to simplify communication.
ON TOP of this is the game-specific memes which open up. My favourite of which is, "you are made of win because you are made of nature". Shamans use "nature spells", and since I successfully ran raids, I was therefore made of win. This is just one example, it can go forever.
Anyway, I played from release until last year. When I quit, I did so out of pure boredom. A new Wrath dungeon was released the week before (called Ulduar), and when I started playing it, I realized I couldn't get into it...I was done. Between that and a higher demand on my time due to tutoring, teaching college classes, and taking licensure courses, I couldn't do it.
For the purposes of this assignment, though, I bit the bullet. I re-activated my dormant account and installed the game again.
I was still in my guild, a high-end raiding guild called "Spite and Malice". There are hundreds of guilds on any given server, all devoted to different tasks. Some are together for group pvp (player-vs-player gaming), some exist purely for levelling, some are just groups of rl (real-life) friends who screw around. The biggest set, though, are the raiding guilds devoted to pve (player vs. environment) in terms of 25-man dungeon raids. I'd been moved from my guild officer position to a new rank called "Retired Heroes", but when I logged on, it was as if i'd never left. The entire guild immediately started harassing me to go on dungeon runs with them. Never mind that I am now WOEFULLY undergeared compared to them: they still remember my status as a healer, they still wanted to bring me in.
In addition to this, I'd logged out in a major city: Dalaran, the capital of "Northrend", which was the northern continent opened up by the release of Wrath. Now, the cities are all connected via chat channels: trade chats, general chats, looking-for-group chats, etc. So I was immediately inundated by trade chats of people looking to buy, looking to sell, looking for runs, or just screwing around. Chuck Norris is still a meme in the game, unfortunately.
And then there were the tells. As part of gaming in WoW, you're rarely just going places with your guild. people log off, people can't go, and you need to find some random stranger. Hence friending...and if you do a good job, they stick you on their friend's list and get a notification when you log on.
I had fifty fuckers I'd never heard of telling me to they needed ME AND ME ALONE to come with them and heal some dungeon i'd never heard of. A year. And they still want me with 'em...
There's one major point to be made within this, and it's one I alluded to above: community. You create your own community based upon your character. It's within a guild, within a server, within individuals. It's not solely performance-based, despite my above claim: it's also attitude-based.
Just like reality: if you act like a dick, you don't have friends. you can be the best healer on the server, but if you kill-steal and steal loot from your groups, you won't go to any raids.
This is something ingrained to the gamer mentality: we're not NICE to each other when we know each other, not by a long shot. But we'll treat each other fairly and help out where we can. We've been playing these games since we were kids, our sense of net-etiquette is no different from our etiquette IRL.
This is NOT something ingrained to the casual or new-comer gamer. In the last decade, gaming has risen in terms of sheer numbers. the best way i can put it is this: when we were kids, we were ostracized or beaten up because we played these games. now the kids who used to beat us up are playing games. They treat the world differently, they take the sense of anonymity as an excuse to behave like an asshole without consequence. They also look at gaming differently, which has led a lot of game publishers to alter what they release: 15 years ago, a game like "Halo" would have been unheard of. No real gamer wants a blind first-person-shooter with no story. we want character customization, we want lore, we want elaborate game-play. but we're now the minority.
I tested this, upon logging back into my account. I ran two dungeons. The first was with four other people in my guild, and the second was a pure pug (pick-up group). the former run went just fine, and the only real hiccups came in me refusing loot they kept trying to make me take...see, i'm not logging back in. i can't take that stuff. it needs to go to someone who will use it.
the second group was with people who play very few other games and haven't played many video games at all in their lifetime. their life is not tied to gaming. let's start at the problems:
1. group fell apart at the start because the tank decided he was going to go with a different pug
2. on getting a new tank, the mage (dps class) informed everyone that the only reason he was there was for a piece of loot off of the first boss, and he'd be leaving right after.
3. on prodding, the mage revealed that he, as the leader of the group, planned to master-loot the item to himself without letting anyone else roll on it.
4. on reforming the group, sans mage, we went in. things went chaotically, but progressed, until the end of the first boss. the tank had been keeping track of dps throughout the fight and decided the warlock hadn't done enough damage. he decided to yell at the warlock, calling him, to quote, "fucking newb-ass cunt".
5. warlock left. i found a member of the guild to come in. we went on ventrilo (a voice chat program) and proceeded to make fun of the tank.
6. final boss. a mount drops...now, a mount is an animal that the character rides. it increases movement speed and overall just looks hella-cool. turns out, the leader (now the tank) knew it'd be dropping. he set the loot to master loot (meaning he decides who gets what). he immediately takes the mount and leaves the group.
7. everyone else is pissed.
I managed to talk to each of the group members for a few minutes, letting them know i'd be writing about their reactions. the tank stated, "it's just a game, i can do what i want." on further interview, i learned that this was his first game. he was 23 years old, he had only played a series of very short first-person shooters in his past, and considered gaming to be something given to him, not an extension of community where policies of common sense, values, or politeness come into play.
This is the changing face of gaming. Entire populations of people with no comprehension of how to behave in game and how it'll effect others.
I played for four years. First I was a horde shaman and an alliance hunter. When raid-time came (read: when my characters got high-level) I trounced the then-broken shaman class in favour of a more entertaining dps class: the hunter. When BC came along, I dumped the hunter in favour of a healing class...the now-fixed restoration-specced shaman. I played that all the way through BC and into Wrath, becoming a pretty premiere healer on a very full server.
So let's start by picking apart what I just said. I'd be willing to bet most of what I said makes little sense to anyone not playing WoW on a regular basis.
Horde --- a lose confederacy of "monster" races on the fictional world of Azeroth. Headed by orcs, the confederacy also boasts trolls, tauren (giant cow-men) and undead.
Alliance --- a somewhat tighter confederacy of less "monstrous" races on the same world. Headed by the humans, it has night-elves, dwarves, and gnomes.
BC --- short for "Burning Crusade". the first REAL expansion of the game. It expanded the level cap from 60-70, introduced new character professions, and added the world of Draenor, the home-world of the orcs before they moved to Azeroth. It also added the race of Draenei to the alliance, and blood-elf to the horde.
Wrath --- short for "Wrath of the Lich King", the latest expansion. it brought the game's action back to azeroth, opening the northern continent for play as well as opening the character class of death knight. There is also a new expansion, titled "Cataclysm" due to be released at the end of this month.
Shaman --- a multi-ability class in the game. they rely on totems to support magic abilities.
Hunter --- a damage-dealing class in the game. they rely on ranged weaponry (bows or guns) and a pet for support damage.
dps --- Damage Per Second --- the damage-dealing character in any group. Other class options are tank (the character taking damage to protect other party members) and healer.
spec --- specialization. a character has three trees to put talent points into (available at every level) and the place more points are placed into is the "spec" of the character.
Server --- self-explanatory --- some servers have a higher population than others. the higher your population, the bigger your economy and the easier it is to get a group.
It's "server" that provides the biggest crux to understanding warcraft: the sense of isolated community and fracturings within. your server is your world. your character is an extension of you. your ABILITIES in the game determine your stature in your server-world, and you are referred to as your character and defined by your talent spec.
The game as a whole, regardless of server, has a basic vocabulary based upon the lore of the game and the mechanics of playing. Entire websites (elitistjerks.com being the most significant) are built upon understanding the actual mechanics of how a character class works and how to play to the limits of its ability. Other websites (such as wowwiki.com) are constructed around understanding the lore. We're not talking about isolated areas. We're talking an entire list of jargon that can approach its own language, based entire on lore understanding, character mechanics, and more generalized uses of net-based abbreviations. For example:
"WTB 200 Sar Ore, PST" --- translation --- "Want to buy 200 saronite ore, please send tell"
--- even TRANSLATING this opens up another questioning --- what the hell is saronite ore? it's a mineral, mined by characters with the mining profession throughout the world, and used for a variety of other professions. Each profession has its own created jargon to simplify communication.
ON TOP of this is the game-specific memes which open up. My favourite of which is, "you are made of win because you are made of nature". Shamans use "nature spells", and since I successfully ran raids, I was therefore made of win. This is just one example, it can go forever.
Anyway, I played from release until last year. When I quit, I did so out of pure boredom. A new Wrath dungeon was released the week before (called Ulduar), and when I started playing it, I realized I couldn't get into it...I was done. Between that and a higher demand on my time due to tutoring, teaching college classes, and taking licensure courses, I couldn't do it.
For the purposes of this assignment, though, I bit the bullet. I re-activated my dormant account and installed the game again.
I was still in my guild, a high-end raiding guild called "Spite and Malice". There are hundreds of guilds on any given server, all devoted to different tasks. Some are together for group pvp (player-vs-player gaming), some exist purely for levelling, some are just groups of rl (real-life) friends who screw around. The biggest set, though, are the raiding guilds devoted to pve (player vs. environment) in terms of 25-man dungeon raids. I'd been moved from my guild officer position to a new rank called "Retired Heroes", but when I logged on, it was as if i'd never left. The entire guild immediately started harassing me to go on dungeon runs with them. Never mind that I am now WOEFULLY undergeared compared to them: they still remember my status as a healer, they still wanted to bring me in.
In addition to this, I'd logged out in a major city: Dalaran, the capital of "Northrend", which was the northern continent opened up by the release of Wrath. Now, the cities are all connected via chat channels: trade chats, general chats, looking-for-group chats, etc. So I was immediately inundated by trade chats of people looking to buy, looking to sell, looking for runs, or just screwing around. Chuck Norris is still a meme in the game, unfortunately.
And then there were the tells. As part of gaming in WoW, you're rarely just going places with your guild. people log off, people can't go, and you need to find some random stranger. Hence friending...and if you do a good job, they stick you on their friend's list and get a notification when you log on.
I had fifty fuckers I'd never heard of telling me to they needed ME AND ME ALONE to come with them and heal some dungeon i'd never heard of. A year. And they still want me with 'em...
There's one major point to be made within this, and it's one I alluded to above: community. You create your own community based upon your character. It's within a guild, within a server, within individuals. It's not solely performance-based, despite my above claim: it's also attitude-based.
Just like reality: if you act like a dick, you don't have friends. you can be the best healer on the server, but if you kill-steal and steal loot from your groups, you won't go to any raids.
This is something ingrained to the gamer mentality: we're not NICE to each other when we know each other, not by a long shot. But we'll treat each other fairly and help out where we can. We've been playing these games since we were kids, our sense of net-etiquette is no different from our etiquette IRL.
This is NOT something ingrained to the casual or new-comer gamer. In the last decade, gaming has risen in terms of sheer numbers. the best way i can put it is this: when we were kids, we were ostracized or beaten up because we played these games. now the kids who used to beat us up are playing games. They treat the world differently, they take the sense of anonymity as an excuse to behave like an asshole without consequence. They also look at gaming differently, which has led a lot of game publishers to alter what they release: 15 years ago, a game like "Halo" would have been unheard of. No real gamer wants a blind first-person-shooter with no story. we want character customization, we want lore, we want elaborate game-play. but we're now the minority.
I tested this, upon logging back into my account. I ran two dungeons. The first was with four other people in my guild, and the second was a pure pug (pick-up group). the former run went just fine, and the only real hiccups came in me refusing loot they kept trying to make me take...see, i'm not logging back in. i can't take that stuff. it needs to go to someone who will use it.
the second group was with people who play very few other games and haven't played many video games at all in their lifetime. their life is not tied to gaming. let's start at the problems:
1. group fell apart at the start because the tank decided he was going to go with a different pug
2. on getting a new tank, the mage (dps class) informed everyone that the only reason he was there was for a piece of loot off of the first boss, and he'd be leaving right after.
3. on prodding, the mage revealed that he, as the leader of the group, planned to master-loot the item to himself without letting anyone else roll on it.
4. on reforming the group, sans mage, we went in. things went chaotically, but progressed, until the end of the first boss. the tank had been keeping track of dps throughout the fight and decided the warlock hadn't done enough damage. he decided to yell at the warlock, calling him, to quote, "fucking newb-ass cunt".
5. warlock left. i found a member of the guild to come in. we went on ventrilo (a voice chat program) and proceeded to make fun of the tank.
6. final boss. a mount drops...now, a mount is an animal that the character rides. it increases movement speed and overall just looks hella-cool. turns out, the leader (now the tank) knew it'd be dropping. he set the loot to master loot (meaning he decides who gets what). he immediately takes the mount and leaves the group.
7. everyone else is pissed.
I managed to talk to each of the group members for a few minutes, letting them know i'd be writing about their reactions. the tank stated, "it's just a game, i can do what i want." on further interview, i learned that this was his first game. he was 23 years old, he had only played a series of very short first-person shooters in his past, and considered gaming to be something given to him, not an extension of community where policies of common sense, values, or politeness come into play.
This is the changing face of gaming. Entire populations of people with no comprehension of how to behave in game and how it'll effect others.
Sunday, October 17, 2010
MOAR!
I should point out, too, that I'm also addicted to wikipedia, torrents of pretty much any tv show or movie I happen to desire, and music-stealing programs such as soulseek. I have about 150 gigs of music...two external hd's and an internal hd of 1.5 tb means LOTS of shit on my computer.
And facebook...god...daily with the facebook...
and the ipod. Yep. Love my ipod.
I'd love to see a secondary instructional method utilizing facebook or twitter. I've been keeping it in mind for the future.
And facebook...god...daily with the facebook...
and the ipod. Yep. Love my ipod.
I'd love to see a secondary instructional method utilizing facebook or twitter. I've been keeping it in mind for the future.
my previous post had a purpose (10/21 digital media practices assignment)
It's really hard to think of these things as "new digital media" or anything like that. To me they're just tools. I use them, I like some of them. I'm well-versed in them. They're not really *new*. They've just always been there for me, and attaching a label on the whole she-bang makes me feel like I'm being overly formal...so I guess that's my attitude and why I'm good with "them".
Of the list provided on Ning, I use them all. I've always used them all. If I don't CURRENTLY use a web-based program that's listed, I either use something better or I've used something software-based that did the same thing, but better. It's really nothing new to me. I still remember first grade...that year, my school was in its first year of having their own computer lab. that was my first experience with any of it and I didn't (and still don't) treat it the way most people do: as something that can be broken, or has to be handled with any kind of special care. It's just a tool. Can't break it unless you put a hammer to it...and I've done that. I've seen the results. My temper is not to be trifled with. If you're an object don't ever cross me.
Anyway, the only reason I remember that time in first grade was because my mom was brought in as a "special teacher" to oversee us on learning how to use computers.
So, since it's all pretty much a part of my daily life and I don't think about using them, nor do I attach any sort of significance or stigma to using them. I tell ya, it was WEIRD being in class a few weeks ago when Imovie was being presented. I'm 29, so older than half of you...and therefore I didn't *grow up* with it in the same way a lot of you did. Yet I had no problems with it. I'd never used Imovie specifically, but software all has rules...it's all somewhat logical in terms of where the tools are that you need within a given program. It was really weird to be able to use the stuff intuitively and hear everyone around me having problems...it's just a tool, it all is. You just sit down and look for structure within it. Or make it yourself. Whichever. And ok ok, when I lived in Cali I was in film school, and part of this was spending an entire year, five days a week, eight hours a day, using Final Cut...and Final Cut makes any other editing suite look like a baby's toy. The only thing more *real* than final cut is a flatbed and a roll of tape. Still though. I didn't have a lot of problems with final cut either.
So. Two tools. My previous post was on my warcraft use, so let's double-up videogames and virtual worlds. The thing I LOVE about video games in general (at least the real games) is the immersive environment which is customizable by the player's actions. The frustrating part is just the limitations in design: it's always a splash in the face to hit up against an NPC programmed to respond only a half dozen ways to you...that's just a pure limitation in the design of AI. Until a method of heuristic thought is developed for machines, we're always going to hit it. But the PRO - REAL games have REAL stories. They're immersive and interactive, taking place in the context of a game with objectives, but they come with their own expansive lore. The biggest pro to gaming, especially fully-immersive games with their own set of lore and npc's living in the world (final fantasy, star wars old republic, warcraft...and any rpg you can think of) is that it really illustrates how how a story is constructed by placing yourself within it in such a way.
How do I present myself: as me. Random, whimsical, et al. Minus private information like name, address, and that sort of thing.
The norms of the environment: in a normal game there are no "norms", the game creates it on its own, thanks to its developers. in an MMO, that's a little different. norms are defined by terms of service, but most people deviate from them in certain ways. the HICCUP is that many newer players lack the history with gaming in general, and instead treat this anonymous frontier as a way to be the biggest asshole they can possibly be. My theory is that people who started gaming as adults, or people who game in arenas not historically a part of the "video-gaming world" have a different mindset and they treat the worlds differently...and not for the better. Our norms are certainly predatory and we'll pounce on weakness. But we're polite and we'll help out if a fellow-player needs it.
So the second one: let's talk about internet and how it relates to ease-of-theft. God I love it. I wasn't allowed on the net til I was 15, but I've been a daily addict since then. Anything from useless knowledge to gaming to online software. It's all happy-world.
Anything I want. I can find it. If it was on tv and it's not on Hulu, I can find it. If it's software I don't want to pay for, I can crack it.
The PROBLEM is that so much of the internet is pure bullshit. The entirety of print media has gone down the road of the internet - unsubstantiated opinion prettied up as "fact". Opinion is everywhere, and most of it has no basis in any sort of reality. The plus side - it creates guys like me, cynical enough to not trust ANYTHING just because I read it or heard it somewhere. But there's also a million GOOD nuggets of info to find, you just have to be discerning enough to find it. That's how i have a hard drive full of music and videos...
I don't understand any teacher who knee-jerks against using ANY form of technology in the classroom. It's all a part of my daily life and has been as far back as I can remember (even cel phones...dizzamn) so I can't imagine going without it. It's all a tool. It has value and can be used for an educational goal. As often as I vegetate on aqua teen hunger force I also analyze the same show for archetypes.
Of the list provided on Ning, I use them all. I've always used them all. If I don't CURRENTLY use a web-based program that's listed, I either use something better or I've used something software-based that did the same thing, but better. It's really nothing new to me. I still remember first grade...that year, my school was in its first year of having their own computer lab. that was my first experience with any of it and I didn't (and still don't) treat it the way most people do: as something that can be broken, or has to be handled with any kind of special care. It's just a tool. Can't break it unless you put a hammer to it...and I've done that. I've seen the results. My temper is not to be trifled with. If you're an object don't ever cross me.
Anyway, the only reason I remember that time in first grade was because my mom was brought in as a "special teacher" to oversee us on learning how to use computers.
So, since it's all pretty much a part of my daily life and I don't think about using them, nor do I attach any sort of significance or stigma to using them. I tell ya, it was WEIRD being in class a few weeks ago when Imovie was being presented. I'm 29, so older than half of you...and therefore I didn't *grow up* with it in the same way a lot of you did. Yet I had no problems with it. I'd never used Imovie specifically, but software all has rules...it's all somewhat logical in terms of where the tools are that you need within a given program. It was really weird to be able to use the stuff intuitively and hear everyone around me having problems...it's just a tool, it all is. You just sit down and look for structure within it. Or make it yourself. Whichever. And ok ok, when I lived in Cali I was in film school, and part of this was spending an entire year, five days a week, eight hours a day, using Final Cut...and Final Cut makes any other editing suite look like a baby's toy. The only thing more *real* than final cut is a flatbed and a roll of tape. Still though. I didn't have a lot of problems with final cut either.
So. Two tools. My previous post was on my warcraft use, so let's double-up videogames and virtual worlds. The thing I LOVE about video games in general (at least the real games) is the immersive environment which is customizable by the player's actions. The frustrating part is just the limitations in design: it's always a splash in the face to hit up against an NPC programmed to respond only a half dozen ways to you...that's just a pure limitation in the design of AI. Until a method of heuristic thought is developed for machines, we're always going to hit it. But the PRO - REAL games have REAL stories. They're immersive and interactive, taking place in the context of a game with objectives, but they come with their own expansive lore. The biggest pro to gaming, especially fully-immersive games with their own set of lore and npc's living in the world (final fantasy, star wars old republic, warcraft...and any rpg you can think of) is that it really illustrates how how a story is constructed by placing yourself within it in such a way.
How do I present myself: as me. Random, whimsical, et al. Minus private information like name, address, and that sort of thing.
The norms of the environment: in a normal game there are no "norms", the game creates it on its own, thanks to its developers. in an MMO, that's a little different. norms are defined by terms of service, but most people deviate from them in certain ways. the HICCUP is that many newer players lack the history with gaming in general, and instead treat this anonymous frontier as a way to be the biggest asshole they can possibly be. My theory is that people who started gaming as adults, or people who game in arenas not historically a part of the "video-gaming world" have a different mindset and they treat the worlds differently...and not for the better. Our norms are certainly predatory and we'll pounce on weakness. But we're polite and we'll help out if a fellow-player needs it.
So the second one: let's talk about internet and how it relates to ease-of-theft. God I love it. I wasn't allowed on the net til I was 15, but I've been a daily addict since then. Anything from useless knowledge to gaming to online software. It's all happy-world.
Anything I want. I can find it. If it was on tv and it's not on Hulu, I can find it. If it's software I don't want to pay for, I can crack it.
The PROBLEM is that so much of the internet is pure bullshit. The entirety of print media has gone down the road of the internet - unsubstantiated opinion prettied up as "fact". Opinion is everywhere, and most of it has no basis in any sort of reality. The plus side - it creates guys like me, cynical enough to not trust ANYTHING just because I read it or heard it somewhere. But there's also a million GOOD nuggets of info to find, you just have to be discerning enough to find it. That's how i have a hard drive full of music and videos...
I don't understand any teacher who knee-jerks against using ANY form of technology in the classroom. It's all a part of my daily life and has been as far back as I can remember (even cel phones...dizzamn) so I can't imagine going without it. It's all a tool. It has value and can be used for an educational goal. As often as I vegetate on aqua teen hunger force I also analyze the same show for archetypes.
Confessions of a WoW addict
About a week after Warcraft came out, I'd just moved to California, I was temporarily bored waiting for classes to start, and I needed something to do. Since I'd just moved, my old consoles were out of the question: couldn't bring them with. All I had was clothes and a laptop. So I bought warcraft. The game utilized a lot of features I already have as pre-requisites to loving any game: solid combat, heavy rpg influences, and a fantasy angle. However, being a general misanthrope, the multiplayer aspect took some getting used to. I'd say about a day. Day two of Warcraft was the beginning of addiction. I played with every class and every race trying to find that ONE that I'd like. I finally settled on an Night-Elf Hunter and an Orc Shaman, eventually dumping the Orc in its mid-50's due to the fact that the Horde's character skins are fugly. My elf hunter, though was not. My elf hunter was a female toon because I'm a perv like that: the Alliance characters in the game are generally more aesthetically pleasing, and the Elf female skins had the added bonus of wiggling when they walked. Sold. Played that bitch out. And by "played out" I mean just that. I played that character DAILY from 2004 until 2007. For those first few weeks it was in a horrifying push of psychosis requiring 16-18 hour sittings. Once the novelty of the game wore off, that died down a little and I was playing more like 3-5 hours on weekdays. My weekends were enveloped by it.
Upon hitting level 60 with my hunter, I was content to bounce around and do nothing, occasionally switching over to alternate characters and plaything those. The idea of dungeon-raiding at the time didn't seem very logical to me...do the same dungeon over and over and over for minor upgrades? No thanks. That changed after a while, with the main impetus for the change being my discovery of JUST HOW FREAKING COOL those dungeons were.
Bam. Raiding guilds. 4 hours a night. 4-5 nights a week. Cooperative play with the sole purpose of pimping out my character to look her greatest.
Now, it probably seems like I was a complete addict. I certainly wouldn't disagree. Hiccup there: Never missed school. Never missed work. My homework was done. I was shooting films simultaneously. I DID, to my credit, get my shit done. I just completely avoided any semblance of a social life (for the most part), instead using "socialize" time to play a video game.
2007 was the release of warcraft's first expansion. After nearly 6 months continuing on with my hunter, I switched mains to a recently-levelled Alliance Shaman and went to a new guild. I was heal-bitch until 2009. The addiction got worse: I'd joined a new guild that was a dedicated raiding guild the was FAR more productive than my previous...and they also raided more often than my old guild. By the time I quit playing in May of 2009, I was the best healer on a highly-populated server, and certainly the most pimped-out. I also had almost every bell and whistle you can imagine...mounts, toys, pets. And I was DEVOTED to that character. When the 2008 Expansion was released in in November, the profession of jewelcrafting was introduced, and armour/weapons became customizable --- add new stats to your armor with gems! Huzzah! And some of those gems were EXPENSIVE. But I would spend each day post-raids analyzing my performance and theory-crafting with my gear, seeing how i could eke out just a LITTLE BIT MORE performance. I spent thousands of gold re-gemming my gear...and gold in that game, while not hard to come by, took time to get.
Why did I quit? Not because I wanted to. Although at this point I wouldn't go back...I still have the discs sitting here nearby, I just don't reinstall the game. But I don't have time to do that kind of devotion to a single game anymore. Throwing out the 200 hours needed to play Oblivion (still sitting on my dresser, almost two years after purchase...again, I just don't have time) is a hard enough thing to coordinate.
So. I still love the game. It's a great game, I'd recommend it to everyone. It's a fully-immersive environment with solid gameplay. The only real downside to it is that it's popular...one of the ways I was able to justify to myself the quitting part was the fact that each server had 10,000 pure idiot assholes on them. The popularity of video games has changed their audience: before it was techie-geeks like me playing them. Now they're popular, and the jocks, assholes, hillbillies, and douche-bags that used to hate me for loving them play them.
This explains shit like Halo, of course.
I'm kind of an elitist with gaming. People who say they game and then add up with "I love shooters" or "I love my Xbox" deserve a kick to the crotch.
Upon hitting level 60 with my hunter, I was content to bounce around and do nothing, occasionally switching over to alternate characters and plaything those. The idea of dungeon-raiding at the time didn't seem very logical to me...do the same dungeon over and over and over for minor upgrades? No thanks. That changed after a while, with the main impetus for the change being my discovery of JUST HOW FREAKING COOL those dungeons were.
Bam. Raiding guilds. 4 hours a night. 4-5 nights a week. Cooperative play with the sole purpose of pimping out my character to look her greatest.
Now, it probably seems like I was a complete addict. I certainly wouldn't disagree. Hiccup there: Never missed school. Never missed work. My homework was done. I was shooting films simultaneously. I DID, to my credit, get my shit done. I just completely avoided any semblance of a social life (for the most part), instead using "socialize" time to play a video game.
2007 was the release of warcraft's first expansion. After nearly 6 months continuing on with my hunter, I switched mains to a recently-levelled Alliance Shaman and went to a new guild. I was heal-bitch until 2009. The addiction got worse: I'd joined a new guild that was a dedicated raiding guild the was FAR more productive than my previous...and they also raided more often than my old guild. By the time I quit playing in May of 2009, I was the best healer on a highly-populated server, and certainly the most pimped-out. I also had almost every bell and whistle you can imagine...mounts, toys, pets. And I was DEVOTED to that character. When the 2008 Expansion was released in in November, the profession of jewelcrafting was introduced, and armour/weapons became customizable --- add new stats to your armor with gems! Huzzah! And some of those gems were EXPENSIVE. But I would spend each day post-raids analyzing my performance and theory-crafting with my gear, seeing how i could eke out just a LITTLE BIT MORE performance. I spent thousands of gold re-gemming my gear...and gold in that game, while not hard to come by, took time to get.
Why did I quit? Not because I wanted to. Although at this point I wouldn't go back...I still have the discs sitting here nearby, I just don't reinstall the game. But I don't have time to do that kind of devotion to a single game anymore. Throwing out the 200 hours needed to play Oblivion (still sitting on my dresser, almost two years after purchase...again, I just don't have time) is a hard enough thing to coordinate.
So. I still love the game. It's a great game, I'd recommend it to everyone. It's a fully-immersive environment with solid gameplay. The only real downside to it is that it's popular...one of the ways I was able to justify to myself the quitting part was the fact that each server had 10,000 pure idiot assholes on them. The popularity of video games has changed their audience: before it was techie-geeks like me playing them. Now they're popular, and the jocks, assholes, hillbillies, and douche-bags that used to hate me for loving them play them.
This explains shit like Halo, of course.
I'm kind of an elitist with gaming. People who say they game and then add up with "I love shooters" or "I love my Xbox" deserve a kick to the crotch.
Thursday, October 14, 2010
Tuesday, October 12, 2010
the one-paragraph activity
voicethread is giving me BS so I haven't posted there yet, I'm not sure if I'll be able to or if I'll just jury rig something else to do the same thing. But here's my activity:
My slides were beer ads in the 20th/21st century, predominantly American. their primary purpose is to sell beer by equating it with sexuality. To quote Bill Maher, "if you drink our beer hot women WILL want to fuck you."
In addition to this, there's the aspect of belonging, being part of something special, and bettering yourself.
All of this to fool people that what they're seeing an ad for is more than cheap swill.
Based on this, my activity would be an examination of cheap product (in this case, beer) and examining what TIES are being made between the cheap product and some sort of lifestyle alteration. Look at the beer ads, what do the ads suggest you will be, be part of, or obtain by buying their product?
Directions: in groups of three look at an ad. Brainstorm three underlying messages being given. Example, "buying this product will make me look like a supermodel".
--- Obviously, this activity can be done with a variety of ad-types, not just beer. I simply chose beer because of how horrifyingly idiotic they are compared to the monopolistic nonsense they're actually selling.
Second part of the activity: share with the large group what three BIG messages you found. As a large group, we look at the trends. What messages are most common? What does this say about us as consumers?
Final part of the activity: a simple product search. How well do these products sell. How much of this success can we attribute to the ads? What does it say about US as consumers (again) if we're willing to pay for a mediocre product?
My slides were beer ads in the 20th/21st century, predominantly American. their primary purpose is to sell beer by equating it with sexuality. To quote Bill Maher, "if you drink our beer hot women WILL want to fuck you."
In addition to this, there's the aspect of belonging, being part of something special, and bettering yourself.
All of this to fool people that what they're seeing an ad for is more than cheap swill.
Based on this, my activity would be an examination of cheap product (in this case, beer) and examining what TIES are being made between the cheap product and some sort of lifestyle alteration. Look at the beer ads, what do the ads suggest you will be, be part of, or obtain by buying their product?
Directions: in groups of three look at an ad. Brainstorm three underlying messages being given. Example, "buying this product will make me look like a supermodel".
--- Obviously, this activity can be done with a variety of ad-types, not just beer. I simply chose beer because of how horrifyingly idiotic they are compared to the monopolistic nonsense they're actually selling.
Second part of the activity: share with the large group what three BIG messages you found. As a large group, we look at the trends. What messages are most common? What does this say about us as consumers?
Final part of the activity: a simple product search. How well do these products sell. How much of this success can we attribute to the ads? What does it say about US as consumers (again) if we're willing to pay for a mediocre product?
Sunday, October 3, 2010
Terminator 2 clip.
the clip itself I analyzed in several terms: it was primarily response theory/rhetorical analysis, with some narrative, feminist, post-colonial, post-structural, and postmodern analysis.
In terms of how I would have students approach this:
Technology --- in my annotations I touched on Prometheus, and this can be considered the first technology parable we have on record. The lesson we get from this story is that technology is something to be wary of. This idea continues all the way up til the 20th century, which we can see VERY strongly in Frankenstein --- the action of invention and creating technology is quite literally playing god, something which can burn us badly. In the 20th century to present, this idea has flipped over. No longer are we as a culture wary of new things and seeking to understand them before using them, we now see all technology as the future, a solution to all of our problems. The Terminator deconstructs this idea, making technology not only something to be wary of, but something which will kill us. So I would use this clip as part of a lesson plan examining the use of technology and our views of it in narratives.
Action/Violence --- Again, I touched on it briefly in my annotation, but this film was created on the tail-end of a decade-long series of films showcasing big muscles and big guns. They made the careers of people such as Schwarzenegger, Stallone, Jean-Claude Van Damme, or Steven Seagal. In almost all of these movies, there would be giant sequences of nothing but gunplay, with entire cities being destroyed in a hail of fire. The Terminator again deconstructs this by bringing our gun-use into a very real and chaotic form, showing the repercussions of relying on violence.
I would also love to spend a lot of time on gender/ethnic stereotyping, using this film clip as a sort of illustration of both of these ideas on their heads. Dyson the good man, compared to a lot of other films, tv shows, and novels which showcase minorities as being thugs or worse. Sarah the machine, an active agent seeking to change the world, contrasted with the passive, purely maternal figures in many other films and television shows which place the agents of action in masculine hands.
the clip itself I analyzed in several terms: it was primarily response theory/rhetorical analysis, with some narrative, feminist, post-colonial, post-structural, and postmodern analysis.
In terms of how I would have students approach this:
Technology --- in my annotations I touched on Prometheus, and this can be considered the first technology parable we have on record. The lesson we get from this story is that technology is something to be wary of. This idea continues all the way up til the 20th century, which we can see VERY strongly in Frankenstein --- the action of invention and creating technology is quite literally playing god, something which can burn us badly. In the 20th century to present, this idea has flipped over. No longer are we as a culture wary of new things and seeking to understand them before using them, we now see all technology as the future, a solution to all of our problems. The Terminator deconstructs this idea, making technology not only something to be wary of, but something which will kill us. So I would use this clip as part of a lesson plan examining the use of technology and our views of it in narratives.
Action/Violence --- Again, I touched on it briefly in my annotation, but this film was created on the tail-end of a decade-long series of films showcasing big muscles and big guns. They made the careers of people such as Schwarzenegger, Stallone, Jean-Claude Van Damme, or Steven Seagal. In almost all of these movies, there would be giant sequences of nothing but gunplay, with entire cities being destroyed in a hail of fire. The Terminator again deconstructs this by bringing our gun-use into a very real and chaotic form, showing the repercussions of relying on violence.
I would also love to spend a lot of time on gender/ethnic stereotyping, using this film clip as a sort of illustration of both of these ideas on their heads. Dyson the good man, compared to a lot of other films, tv shows, and novels which showcase minorities as being thugs or worse. Sarah the machine, an active agent seeking to change the world, contrasted with the passive, purely maternal figures in many other films and television shows which place the agents of action in masculine hands.
Thursday, September 30, 2010
activity
Teaching Film Activity:
It's a simple worksheet designed for post-viewing discussion, but it's also pretty informative and occasionally fun. Students are expected to answer these questions during/after viewing any given movie.
1. Underneath the plot, what do you think this movie is about?
2. What is your favourite scene in the movie?
3. What is your least-favourite scene in the movie?
4. Favourite shot?
5. How do you think this shot ties into what the director is saying with the movie?
6. Least favourite shot?
7. Name one thing you liked MOST about the movie? This could be ANYTHING from an actor to a hair-style.
8. Name one thing you liked LEAST.
It's a simple worksheet designed for post-viewing discussion, but it's also pretty informative and occasionally fun. Students are expected to answer these questions during/after viewing any given movie.
1. Underneath the plot, what do you think this movie is about?
2. What is your favourite scene in the movie?
3. What is your least-favourite scene in the movie?
4. Favourite shot?
5. How do you think this shot ties into what the director is saying with the movie?
6. Least favourite shot?
7. Name one thing you liked MOST about the movie? This could be ANYTHING from an actor to a hair-style.
8. Name one thing you liked LEAST.
Monday, September 20, 2010
urge to kill rising
all the listed dvd ripping software doesn't decrypt. end result: garbled nonsense, occasionally with a broken audio track embedded. i know exactly what i want to do, i just don't want to pay for it. Youtube, of course, is filled with largely worthless shit unsuitable to use. I could spend about 24 hours filtering through it to find something good...meh.
Thursday, September 16, 2010
Monday, September 13, 2010
If I don't know you, DIAF
Under the basic, and reasonable, assumption that the only people who will be looking at this blog will be classmates, I'll post this now and here while it's in my head.
Now of course, before anyone starts up with "but this is an open site anyone can look here" I say sure. And I can drive a car with my toes. Doesn't mean it'll be happening.
On the fluke chance that someone is reading this who is not a member of one of these classes, you may wanna sod off right now.
So, I've done the bulk of the reading for this week's session of 5472 already, and I found something cool. "A Teacher's Perspective: Online Conversations Support Student Engagement with Literature". The ideas and potential of allowing/encouraging students to use im/texting/chatrooms to talk about literature is something that's setting my twisted little brain a-spinnin'. Anyone else having similar positive reactions to it? I've been extrapolating mentally on how I could use such an idea.
Assuming I don't forget, I'll bring this up on Thursday.
XOXO
Now of course, before anyone starts up with "but this is an open site anyone can look here" I say sure. And I can drive a car with my toes. Doesn't mean it'll be happening.
On the fluke chance that someone is reading this who is not a member of one of these classes, you may wanna sod off right now.
So, I've done the bulk of the reading for this week's session of 5472 already, and I found something cool. "A Teacher's Perspective: Online Conversations Support Student Engagement with Literature". The ideas and potential of allowing/encouraging students to use im/texting/chatrooms to talk about literature is something that's setting my twisted little brain a-spinnin'. Anyone else having similar positive reactions to it? I've been extrapolating mentally on how I could use such an idea.
Assuming I don't forget, I'll bring this up on Thursday.
XOXO
This is a test
Once upon a time in the Wicher Lands, a dark King and his army of Mox ruled the jungles. They lived in a sedentary manner, and their true terror was in the land of dreams. The Wicher-King is the king of Headhunters.
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