Just in time for Halloween…

 

UnknownOur discussion of Pieces of Herself by Juliet Davis was rich and insightful.  Thank you to Nadia for her excellent walkthrough – I really enjoyed our thoughtful conversation about the work.  This interactive digital art piece makes use of much less text than we have seen in the previous e-lit pieces we have explored together.  Instead, this work makes great use of a drag and drop interface – viewers can scroll through familiar environments (i.e. bathroom, living room, outside, the office) to collect metaphorical “pieces” of the self and arrange them in compositions inside the body by dropping them down in a dress-up doll.   The reader/navigator can customize their exploration of the work by filling in the dress-up doll (or woman’s silhouette).  As each “piece” is dragged into the paper doll silhouette, it triggers animations along with audio clips from interviews with women, music loops, and sound effects, resulting in a layered narrative effect.  

We discussed the meaning behind the that the fact that one cannot remove any of these animations/effects once they are dropped down in the silhouette.  This amplifies the underlying theme that ideologies leave lasting marks, imprinting a woman permanently.  Davis’ work emphasizes the irrevocable layering of all the experiences that shape and mark a young woman, highlighting the social inscription of the feminized body.

______________________

***Please remember that you should drop your storyboard and/or concept for your individual elit piece in this document.  There are some fantastic examples of work thus far included there.  I am really inspired and excited to see this unfolding work from all of you.   Not everyone has dropped their material down in there yet, so make a point to do that before next class.

For next class:  

Kelli will present on “This is how you will Die!” By Jason Nelson…just in time for Halloween ;).  Please post your reflection blog on this piece before class.  

In part two of class, you will all discuss and determine your plans for the final group project.  Please come to class with some ideas – what collaboration project might be both exciting and meaningful as a conclusion to our e-lit journey together?  We will be sure to set up a timeline for the project before the close of class.

Finally, I will be announcing a new mini-project for all of you to explore in the next two weeks.  It is a #netprov called Thermophiles in Love.  We will discuss how we will participate when we are in class together soon.

images  Happy Halloween!

 

This is How You Will Die

Jason Nelson’s “This is How You Will Die” is described as digital fiction and poetry, but I found that the imagery and the sounds are just as responsible for the haunting and confusing aura around this piece.  I agree that it can be considered e-lit as the prose and poetry inform the experience that we are having (which is all about death, dying and how we treat the subject), but the text to me was often confusing and was displayed in such a way that made it hard to read and absorb. More on that in a bit.  The sounds and imagery are bizarre. The sounds are like a slow heartbeat with an electronic chord that may sound like the wind or a voice depending on how you hear it. The imagery is crude – the frame pixilated which what looks like frayed wires sticking out of it. It all feels very rough. There are only two real choices. One is to “explain death”. In doing so, the author puts text on essentially a blank screen, describing human beings like animals, referring to them as bovines that are just going through the motions of living like a mindless creature (styling your hair, adjusting your clothes). The idea of your career as a “gulley” makes life seem predictable and predetermined – all of our days running in the same direction toward death, which the author calls “the last doorway”. The whole tone of this reading is that life is essentially pointless – that you will be unknown and your life will make little to no distance (he says your “brief bell” which I took as a metaphor for life will swing the herd three steps – in other words, move the needle very very little). I found it interesting that he describes the “game” as having a way to win. This message never changes throughout the game. The only other real option is to hit “death spin”, so I did.

The text that appears on the one-armed bandit style strip across the middle is a somewhat absurd, bizarre accounting of possible deaths.. My rough break down is as follows: So first column of the spin is when – then the second column is what happens to you to kill you – the third is the moment of your death – the fourth is the moments immediately after your death and what happens to your spirit/soul/remains…..The real action is in the clips that appear as numbers on crudely drawn colored doorways.

It was hard for me to get a read on the meaning of the text that popped up in the Death spin – nonsensical in a sense – a “box knife used to restock your face”?  “The cab driver hides your body in an off season amusement park”?  I guess the whole thing points to the absurdity of death – that basically, sh*t happens and it happens for ridiculous reasons and in ridiculous ways and that death has no more meaning than life does. As for the numbered doorways, I found those videos and clips to be much more interesting. These seem to be where the real meaning of the piece lies – thoughtful little audio plays that underscore the ways people see the juxtaposition of life and death – some light-heartedly, others more somberly… Some of them are positively haunting and morbid. For instance the clip about dying while driving – the line “their heads were wrecked, everything around them was wrecked” is disturbing.  I thought the line that “Some cars don’t have drivers that don’t die” was particularly thought-provoking.

There is a clip about birds – the voice is flat and lifeless – talking about birds and the forest being burned i think – says things dont really die, or maybe they do. All we see are images of nature – grasses and birds.  One problem I have with a number of these clips is that the words are hard to read – they change quickly and have a shadow on them that makes them difficult to make out. In addition, the poems don’t really have a beginning or an end. Both the poems in print and the audio readings continue to loop – they circle around unendingly.  Perhaps, I thought it is something to do with the circle of life, or the way you can’t get a thought – particularly a notion of death – out of your head.  In clip 6, the reading is about how its an effort to die, a hassle, an obstacle and the girl ends up comparing it to a playground with slides – a take that I found to be somewhat nonsensical, but also demonstrating the way some people may want to view death – as something that simply gets in the way of having a good time.  The poem has a little more meaning – it points out the chain of killing, leading from soap killing germs to germs killing cells to cells killing organs to organs killing us to “we kill others.  others kill us.”  That seemed more like a statement about man’s inhumanity to man and, frankly, seemed a little jarring when juxtaposed with the audio clip I just mentioned. Other clips show trees and tombstones. One shows a figure in white near what could be cemetery gates. This is another light-hearted (?) exchange about death in which a girl tells a man that her death will be fun for him because it will be a surprise. She also points out that when she dies he will get her material things…

 

I wanted to point out something that struck me in clip 7 because it was the only one that seemed to reference religion or God . In the audio clip, the man is talking about people that “like to die” – and says the only people that like to die hold flashlights over others who are dying to confuse them. So he is referring to people in the afterlife perhaps – that are trapped in this world playing a joke on people dying to make them think they are seeing God’s light?  There’s an allusion to this in the poetry in which is says some deities hold flashlights on bitter dead, on richly worn..  That’s another allusion to God (or gods).  And it also makes the point that the people that will be disappointed by their final destination are those that are bitter or unhappy anyway or those that are rich (which sounds Biblical to me – like the rich man has a better chance of passing through the eye of a needle rather than enter the kingdom of heaven).

The actual idea of getting or losing spins seemed all beside the point, but enjoyable nonetheless. The first time I plated the game I kept “winning” additional “demise credits” by getting blood diseases, etc.  It doesn’t seem so much like “gambling” as the opening scene makes it sound. This time I got 443 demise credits and its singing (when you die, you die) which I guess is the point here, as it is putting an absurd spin on death and also seeming to poke a little fun at those expecting God or some great answer to be revealed. Here it says that although I have won extra death spins, parts of me are erased. Erased from others’ memories? Erased from the game?  No I continue to get additional spins every time, but the warnings are getting more dire.  The music is speeding up and becoming more chaotic, including organ chords. It predicts that I will do something in 72 hours to lead to my death.

I notice that as I spin, little facts about death appear on the center strip behind the main text – like the increasing method of death is blunt trauma. The markings on the side of the frame look like frayed wires, and when you spin it looks like veins or blood or wires… with some splotches of blood. I cant tell whats behind the bottom of the page – maybe two eyes, make two zeros…. Despite all of this, there doesn’t seem to be anything to learn and the tab that says “explain death” never reveals a different message.  So looking at another link, it says that the more death credits you have, the further away your death is.  But when I get bad news like I have a blood disease or something, it adds death credits meaning my death gets =further= away. That doesn’t make sense. Finally, I decided to start over to see if I could deliberately run my number of death credits down to zero but I got as low as 6 and it wouldn’t let me spin anymore. At that point, the game didn’t appear to be over, but there was nothing more that I was able to do.

In conclusion, I found the game to be an interesting commentary on death, dying and how as humans cope with how we will die. Nelson clearly sees an element of absurdity here and I think he shares it. The game idea just seems to be a platform for the audio commentary and poetry, but it works well. It definitely qualifies as e-lit, although I think it was somewhat disappointing in that there was no end to the game. In a game about death, shouldn’t there be some finality?

deathspin

 

 

 


Gallows Humor–Now with Less Rope: Nihilism & Neo-Dadaism in Jason Nelson’s “This is How You Will Die”

“The concept of death as a familiar and anonymous event was replaced by the suppression of death.”

Dark comedy is risky business–making light of subjects such as death, murder, suffering, etc. still controversial and oft times incendiary when done on stage, let alone when done through the screen. But, Jason Nelson seems to have made it his business not to shy away from provoking his audience–both to laughter and to discomfort. In Nelson’s This is How You Will Die (2005), an early hybrid of digital poetry and–to an extent–generative fiction, readers not only explore death and the macabre as poetic thematic but also experience their own deaths as if a punchline to some kind of joke just beyond grasp. Nelson’s piece owes much of its power and whimsy–can’t forget that whimsy–decidedly to its slot-machine interface which serves to communicate, among other things, a sense of chance (i.e luckiness vs. unluckiness), a sense of the unknown, and an overall sense of play (i.e winning vs. losing). Despite entering a space filled with rather mature and morbid themes, readers feel as if they are playing a game because the presentation of those darker themes is in an unassuming context. Even when paired with the grungy, scrawled aesthetic Nelson has going for this piece (and most of his pieces), there is nothing overtly scarring about reader-interaction with the content. Which, I myself attribute heavily to this piece’s slot-machine interface, yes, but also to its, uhm, nonsense–something I consider to be influenced by a brand of Neo-Dadaism with a hearty sprinkling of nihilism thrown in for good measure.

From “beginning” to “end”, readers of This is How You Will Die are thrust into a space devoid of much understanding beyond the fact that there is a game of sorts that must be played in order for any kind of meaning whatsoever to gleaned. Upon first entering the space, readers are greeted by a discordant humming and by the slot-machine interface which is housed within a pair of picture frames–that switch back and forth throughout interaction with the piece. The slot-machine itself begins blank (white) except for three clickable choices. All of them are located towards the bottom of the slot-machine–two on the left and one on the right. There are some red, grey, and yellow scribblies that colour some of the white space and extend beyond the frames but none of them are clickable. So, that leaves the three options. Choosing the “Explain Death” on the far left causes a screen to roll down from the top of the frames. Its content is quite interesting, to say the least. If there were an overall point to this piece, it would have to be what is explained/posed here–that life’s a gamble. An ultimately meaningless gamble but a gamble nonetheless. The nihilism is very strong in this excerpt. In clear reference to this piece, it is explained that, “These are words, motions, and doorways, and your last is your death.” So, have fun. The instructions leave little to be desired but they serve their purpose. Moving the mouse over the other clickable option on the left, “Demise Credits”, reveals that a player needs to retain at least ten credits in order to continue “forecasting [their] death.”  Twenty-eight credits are always available (allowing for at least three spins since each spin costs nine credits). And, that leaves one last clickable option on the right–“Death Spin.” Clicking on that gets everything rolling. And, by everything I mean five things. According to the description of this piece provided by Nelson, there are 15 five-line poeticals a reader can come across in a variety of combinations.

It is interesting to note how many cyclical/circular references there are within this piece. There is the slot-machine itself. Then, there’s each slot on the machine. The loop of humming in the background. And, there are these “door” options that will accompany some of the poeticals. Doors numbered 1-9, when clicked, will each play a loop of a short video, a soundbite, and a text. On and on it will go until the reader clicks for another spin and resets the slot-machine. All of these cyclical elements seem to reinforce the nihilistic sentiment in that “Explain Death” blurb–that life is a meaningless gamble because all life is, well, is endless repetition. “Continue styling your hair, adjusting your clothes, lifting, placing, washing, breaking, mending.” the blurb says. None of these things separate you from the herd nor single you out as remarkably purposeful. And, so, what really is the purpose of all of these loops in this piece if not to echo that purposelessness of life itself? Even the words in the poeticals will soon be nothing but repetitive. All possible permutations will wear themselves out eventually and nothing new will be generated (which is why this piece is generative fiction only to a certain extent). All the content behind those additional doors will eventually be exhausted. This piece will wear itself out as it operates, in essence, around a loop. That is its coding–to generate loops… Until the demise credits run out, of course. Then, it’s game over.

But, the screen doesn’t fade to black or anything. Nothing flashes or scribbles out. No, that would conflict with the philosophy being forwarded here. Instead, all a reader is left with once they run out of demise credits is their “death”–a piece of work that puts MadLibs to shame. Perhaps, an additional video as well–also, pretty trippy. Very nonsensical and disjointed. To me, both the lexical and the audio-visual content read distinctively Dada-influenced/inspired. For those unfamiliar, Dada was an early twentieth-century (anti)art movement that, in many ways, acted as a response to the fragmentation of Europe during and especially after WWI. It was a way for artists, writers, and the like to understand how countries like England, France, Italy, and Germany–generally considered the pinnacles of Western culture–could have spent so many many brutal and bloody years fighting over, really, fifty-feet of mud. Dada is characterized by nonsense and absurdity because what created it was nonsense and absurdity. It eventually got shoved to the peripheral by Surrealism and then Abstract-Expressionism…  But, a kind of Neo-Dadaism has been popping up lately in contemporary spheres. There is a growing appreciation for art and for expression that is free-associative–which, I think certainly describes Nelson’s piece.

The poems one gets out of his piece here are largely nonsensical. Rarely, do the five parts of each poetical provide any coherence, any kind of traditional trajectory. While this piece is certainly literary–at least, as literary as something akin to Joyce’s Finnegan’s Wake could be considered–identifying how exactly it is literary poses some unique challenges (many that mirror the ones Dada had and still has with fitting into the art world). What is considered a part of the story here? Just the fragments that fill the slots when they are spun? What about the doors and the additional material they provide? Are they a part of the main story? Sub-plots? Should the doors used to access this information be identified as chapters or, maybe, page-breaks? Because the content “behind” the doors is not clearly delineated. It overlaps the slot-machine interface –little frames house videos with embedded text while audio plays, discordant humming uninterrupted by the additional audio. And, none of the additional audio seems to connect. Some is interview-like while other is list-like. Usually, the images in the videos correlate to the audio but some of the inlaid text doesn’t necessarily connect so clearly. So, are these nine doors portals to separate vignettes? Is each poem its own vignette? Its own story? Nelson describes the interface as working from 15 five-line poems but does that mean that readers should view this work as only having 15 five-line poems and discard the new permutations? I would think not. Especially if Nelson is trying to evoke Neo-Dadaism in some way, viewing this work as being so structured defeats the purpose of it–which, as previously stated, seems to be a celebration of purposelessness and meaninglessness. It is all very paradoxical (loops within loops).

Looking for meaning in why there are nine doors also seems to veer away from the message. At first, I thought they might be related to the Seven Deadly Sins or to Dante’s nine circles of Hell but, unless I’m missing something very obvious, there seems to be no correlation to either of those things. I’d have to force the content to mean what I want it to mean. Though. I am rather fond of the idea of the doors relating to the idiom, “a cat has nine lives.” It seems to fit with the spirit of the piece (i.e the role of chance, luckiness vs. unluckiness). Also, extra demise credits will be awarded on random spins–usually at the cost of something awful like “blood disease” or “electrocution by a lover”–which seems to further invoke this idea of “the luck of the draw.” There is no rhyme or reason to why a bus didn’t hit you today or for why you didn’t develop a cancer in your life other than it being your “lucky day.” And, when you run out of demise credits so to have you run out of luck. Used up your ninth life.

Overall, This is How You Will Die operates on multiple heuristic and stylistic levels to create a new kind of literary experience. While the interactivity is quite minimal in comparison to more contemporary works of E-literature, here the simplicity of it serves its purpose to transform the reader into the author of their own demise. Which, is quite the joke, isn’t it?

Click to view slideshow.

***Be sure to tell me in your blog posts how you “died.” ;P***

**Extra:

Here‘s an interesting paper that talks about this piece (that I couldn’t really find a way to incorporate into my own analysis).


This is How You Die: Jason Nelson

Just in time for Halloween: This is How You Die, by Jason Nelson

This is a game that is set up like an online slot machine. The pictures that are in place in a regular slot machine have been replaced by short pieces of text that are meant to predict the users death. The prediction is divided into four parts: location, method, result, and post-result. Each spin produces a completely random combination (some making more sense than others!).

The screen that contains the "slot machine" as a few interactive buttons that you can scroll over. One is "explain death" which provides a dismal and creepy outlook on life and death. "Demise credits" displays a number that is reduced each time a death spin is made. The user starts with 28 credits and the game informs you that at least 10 are needed in order to make a spin. Finally, "death spin" activates the game.

On the first spin, a clip of a man singing, "you're dead, you're dead..." plays. The entire time the game is open, spooky music plays. There are repetitive thud sounds and swells of a repeated noise.

Here are my first results:

"Driving a Kansas highway, watching hail storms whiten the knee high wheat fields/ You are weather trapped and after four days blood clots vacation in your brain/ And while your death breath draws you play an imaginary golf game with leaves/ the cab driver hides your body in an off season amusement park/ Your death is reported by tenure seeking academics as being suspiciously modernist"

Now I have 24 demise credits; I spin again. This time, my results make much less sense. Basically, I lock up shop at "Hobby Cakes", get my loose skin stuck in a cab door, am dragged 2 miles, and then my family says that I did it on purpose.  I also apparently published an unsuccessful book of poetry.

15 demise credits:

I still write bad poetry! Yet this time, I'm at the Grand Canyon, and jocks steal machines that I need in order to stay alive.

At 6 demise credits, I'm out; I'm unable to make a spin.

Exiting and coming back into the game, I notice something that I previously missed. Next to some elements of the predictions, there are little numbers that you can press. These activate short video clips that repeat imagery of death and creepy text. I also win some demise credits this time. Text pops up: "Good: you have won extra death spins/ Bad: blood disease".

This was creepy/ fun. Note to self: stay away from the Grand Canyon, Kansas, and poetry.

This is How You Die: Jason Nelson

Just in time for Halloween: This is How You Die, by Jason Nelson

This is a game that is set up like an online slot machine. The pictures that are in place in a regular slot machine have been replaced by short pieces of text that are meant to predict the users death. The prediction is divided into four parts: location, method, result, and post-result. Each spin produces a completely random combination (some making more sense than others!).

The screen that contains the "slot machine" as a few interactive buttons that you can scroll over. One is "explain death" which provides a dismal and creepy outlook on life and death. "Demise credits" displays a number that is reduced each time a death spin is made. The user starts with 28 credits and the game informs you that at least 10 are needed in order to make a spin. Finally, "death spin" activates the game.

On the first spin, a clip of a man singing, "you're dead, you're dead..." plays. The entire time the game is open, spooky music plays. There are repetitive thud sounds and swells of a repeated noise.

Here are my first results:

"Driving a Kansas highway, watching hail storms whiten the knee high wheat fields/ You are weather trapped and after four days blood clots vacation in your brain/ And while your death breath draws you play an imaginary golf game with leaves/ the cab driver hides your body in an off season amusement park/ Your death is reported by tenure seeking academics as being suspiciously modernist"

Now I have 24 demise credits; I spin again. This time, my results make much less sense. Basically, I lock up shop at "Hobby Cakes", get my loose skin stuck in a cab door, am dragged 2 miles, and then my family says that I did it on purpose.  I also apparently published an unsuccessful book of poetry.

15 demise credits:

I still write bad poetry! Yet this time, I'm at the Grand Canyon, and jocks steal machines that I need in order to stay alive.

At 6 demise credits, I'm out; I'm unable to make a spin.

Exiting and coming back into the game, I notice something that I previously missed. Next to some elements of the predictions, there are little numbers that you can press. These activate short video clips that repeat imagery of death and creepy text. I also win some demise credits this time. Text pops up: "Good: you have won extra death spins/ Bad: blood disease".

This was creepy/ fun. Note to self: stay away from the Grand Canyon, Kansas, and poetry.

Blog #6 This Is How You Will Die Review

I thought that this week’s e-lit piece was the spookiest out of all the ones that I explored already. I thought that the background music on this piece was extremely creepy. It gave the piece a gloomy and unsettling feeling. I was unsure of what to press in the piece at first. Then I explored the tabs: demise credits, explain death and death spin. At first I didn’t understand the instructions.

When I pressed the tab that said explain death, I couldn’t understand the poem that was written. If someone else could explain it, I would be truly surprised. Now that I think about it, the explanation might not have been there to actually give an explanation. Instead, it promotes the idea that we don’t know what death is. It just happens. People may try to explain death to us but it still doesn’t make sense to us.
When I pressed the demise credits tab and it said you need at least 10. I wasn’t sure what it meant at first. I wasn’t sure if that meant 10 spins or cards adding up to ten.
I could press either one of the numbers that pop up for me. I wasn’t sure where there would lead based on previous experiences in e-lit. They brought up relatively short videos with words on images. I had to keep reading the notes during the videos but still couldn’t piece them into a story. There were just random stories about how the narrator understood people’s death and he sounded really creepy. In my opinion, he kind of sounds like high, drunk or perhaps psychotic person telling a story. He wasn’t speaking to actually make sense to the readers. That could also add to what the story is about. This could possibly be a piece to show how people with mental issues view death.
I couldn’t come to any concrete understanding of what was trying to be promoted. I tried to frame the disoriented parts into a story with meaning and it still made no sense. The eerie, spooky and haunting voice of the reader stood out to me. I could also press death spin again. When the frames around the game changed I couldn’t interpret them. I would also notice some extra sentences that could come up in another spin.
As I continued playing I wondered, how do I know that I’m done. I can’t really see it coming. When the man kept saying “when you die you die,” his tone reminded me of a horror film.

My story ended when I spun 7 and that was the end. There was no big sign on the screen saying The End. There was no solid reason. I just already knew it would be coming. I just didn’t know the reason other than I spun less than 10. Instead of spinning less than 10 in life to end up dead, we just have to keep living and mess with the wrong substances, wrong crowds among other things.
Even though we may hear about how someone died or why they died but we never really understand it. The game is almost like a game of life itself. In the game, you keep playing and playing and then you’re suddenly dead. In life, you keep living and living and then you’re suddenly dead. All it takes is one wrong move. That provides me with such a grim outlook and this is why I would stay away from a piece of e-lit like this. It provokes uncomfortable feelings of sadness and despair inside me. Even though I believe in God, I’d rather not think about these things. I prefer to focus on the joy, happiness, love and abundance in living than worry about the grim reaper.
Key Questions:
1.      Could the author play with the idea of implementing the end of the game when the player doesn’t finish at a certain time? A timer could be at the top of the screen. Screen could go completely
2.      What provoked the author to do an e-lit piece like this?
Definitely not a piece that I want to model mine after.

Blog #6 This Is How You Will Die Review

I thought that this week’s e-lit piece was the spookiest out of all the ones that I explored already. I thought that the background music on this piece was extremely creepy. It gave the piece a gloomy and unsettling feeling. I was unsure of what to press in the piece at first. Then I explored the tabs: demise credits, explain death and death spin. At first I didn’t understand the instructions.

When I pressed the tab that said explain death, I couldn’t understand the poem that was written. If someone else could explain it, I would be truly surprised. Now that I think about it, the explanation might not have been there to actually give an explanation. Instead, it promotes the idea that we don’t know what death is. It just happens. People may try to explain death to us but it still doesn’t make sense to us.
When I pressed the demise credits tab and it said you need at least 10. I wasn’t sure what it meant at first. I wasn’t sure if that meant 10 spins or cards adding up to ten.
I could press either one of the numbers that pop up for me. I wasn’t sure where there would lead based on previous experiences in e-lit. They brought up relatively short videos with words on images. I had to keep reading the notes during the videos but still couldn’t piece them into a story. There were just random stories about how the narrator understood people’s death and he sounded really creepy. In my opinion, he kind of sounds like high, drunk or perhaps psychotic person telling a story. He wasn’t speaking to actually make sense to the readers. That could also add to what the story is about. This could possibly be a piece to show how people with mental issues view death.
I couldn’t come to any concrete understanding of what was trying to be promoted. I tried to frame the disoriented parts into a story with meaning and it still made no sense. The eerie, spooky and haunting voice of the reader stood out to me. I could also press death spin again. When the frames around the game changed I couldn’t interpret them. I would also notice some extra sentences that could come up in another spin.
As I continued playing I wondered, how do I know that I’m done. I can’t really see it coming. When the man kept saying “when you die you die,” his tone reminded me of a horror film.

My story ended when I spun 7 and that was the end. There was no big sign on the screen saying The End. There was no solid reason. I just already knew it would be coming. I just didn’t know the reason other than I spun less than 10. Instead of spinning less than 10 in life to end up dead, we just have to keep living and mess with the wrong substances, wrong crowds among other things.
Even though we may hear about how someone died or why they died but we never really understand it. The game is almost like a game of life itself. In the game, you keep playing and playing and then you’re suddenly dead. In life, you keep living and living and then you’re suddenly dead. All it takes is one wrong move. That provides me with such a grim outlook and this is why I would stay away from a piece of e-lit like this. It provokes uncomfortable feelings of sadness and despair inside me. Even though I believe in God, I’d rather not think about these things. I prefer to focus on the joy, happiness, love and abundance in living than worry about the grim reaper.
Key Questions:
1.      Could the author play with the idea of implementing the end of the game when the player doesn’t finish at a certain time? A timer could be at the top of the screen. Screen could go completely
2.      What provoked the author to do an e-lit piece like this?
Definitely not a piece that I want to model mine after.

Ally’s Elit World 2016-10-25 20:00:00

This was a very interesting game/Elit piece. I am fascinated by the pieces that are considered games because they aren't one's usual electronic video game. They are much more than that. This piece was a game because of the pieces put together to build the woman and discover all of the objects that make her whole. I enjoyed all the noises and music and voices with random comments that helped describe what was going on in the scene.
There was one scene I related to most and that was when the woman was talking about what she wears and what it means. She mentioned how what a woman wears like jewelry or clothing does not depict who they are on the inside. I totally relate to that in the sense that for work, I have to dress in all black every single day. In order to dress up my all black look, I have to wear jewelry and accessorize. I always relate all-black to a more gothic style so I feel like what I'm wearing on the outside does not symbolize who I am on the inside.
"Pieces of Herself" has a lot to do with women and how they realize who they are and what makes them who they are as a person. This piece plays with sounds and colors which I think is done to keep the reader/game player entertained and intrigued. At least that's what it did for me. I enjoyed all of the scenes where there were black and white backgrounds but the pieces itself were colorful. It was pretty scary the way it started in the bathroom with blood on the curtains. This raised a lot of questions in my mind but I just kept going because it had me wanting more.
Something I noticed about this piece that I liked is that it doesn't have a clear ending. It made me understand that my Elit piece won't have to be a story that has a clear beginning with a problem and a solution with a perfect ending. Our Elit stories won't be a typical novel setup. It can just be a piece that has a character or characters in an important setting with a message to the viewers and that can just be it. The idea of what I have for my piece is that I want to have a girl be able to see her life with three different guys. You can click the different faces and with each one will be a different journey. I thought of this idea because of my friends who just don't know how to pick the right guy. So in my piece I want the mean guy to yell out different blurbs like "go change I don't like what you're wearing" and the second guy to say "you better call me when you get there and when you leave. If I don't get a call we're going to have problems" and then the third guy to say "I was thinking for dinner we can do Chinese and then watch this movie I bought us tickets for,  what do you think?" . This way - the player can have a chance to see what their journey in life could be like with each possible guy. But each one will start off nice and throughout the game - their true characters will show. This is just a thought for right now. With time I will work on clearer images and sounds for my piece.

Ally’s Elit World 2016-10-25 20:00:00

This was a very interesting game/Elit piece. I am fascinated by the pieces that are considered games because they aren't one's usual electronic video game. They are much more than that. This piece was a game because of the pieces put together to build the woman and discover all of the objects that make her whole. I enjoyed all the noises and music and voices with random comments that helped describe what was going on in the scene.
There was one scene I related to most and that was when the woman was talking about what she wears and what it means. She mentioned how what a woman wears like jewelry or clothing does not depict who they are on the inside. I totally relate to that in the sense that for work, I have to dress in all black every single day. In order to dress up my all black look, I have to wear jewelry and accessorize. I always relate all-black to a more gothic style so I feel like what I'm wearing on the outside does not symbolize who I am on the inside.
"Pieces of Herself" has a lot to do with women and how they realize who they are and what makes them who they are as a person. This piece plays with sounds and colors which I think is done to keep the reader/game player entertained and intrigued. At least that's what it did for me. I enjoyed all of the scenes where there were black and white backgrounds but the pieces itself were colorful. It was pretty scary the way it started in the bathroom with blood on the curtains. This raised a lot of questions in my mind but I just kept going because it had me wanting more.
Something I noticed about this piece that I liked is that it doesn't have a clear ending. It made me understand that my Elit piece won't have to be a story that has a clear beginning with a problem and a solution with a perfect ending. Our Elit stories won't be a typical novel setup. It can just be a piece that has a character or characters in an important setting with a message to the viewers and that can just be it. The idea of what I have for my piece is that I want to have a girl be able to see her life with three different guys. You can click the different faces and with each one will be a different journey. I thought of this idea because of my friends who just don't know how to pick the right guy. So in my piece I want the mean guy to yell out different blurbs like "go change I don't like what you're wearing" and the second guy to say "you better call me when you get there and when you leave. If I don't get a call we're going to have problems" and then the third guy to say "I was thinking for dinner we can do Chinese and then watch this movie I bought us tickets for,  what do you think?" . This way - the player can have a chance to see what their journey in life could be like with each possible guy. But each one will start off nice and throughout the game - their true characters will show. This is just a thought for right now. With time I will work on clearer images and sounds for my piece.

Tinkering Session

I have been writing my blogs in advance and then scheduling them, so I didn't get a chance to add my elit thoughts to last week's blog. I am considering two ideas. One: I am getting in the spirit of Halloween, and I kind of want to tell a story of a family who is experiencing some kind of haunting in their home, but I want to tell it from the family dog's perspective. I think that this could be fun. Two: I have a short story started that I might want to adapt to an elit piece.

For either of those options, I want to find tools that I can use to combine sound, images, and text (maybe video too...).

I started out by checking out Google Story Builder. This was not what I was looking for... I just kept asking myself, "Am I missing something?" This seems like a neat way to teach kids about collaborative writing though. I will keep this in mind for future projects. I also looked at Thinglink, but this too seems like something that I probably can't use for this particular project.

Then I got distracted by trying to make a Voki for way too long...

The tool that I liked the most so far is one that I can use as an element in my elit piece. It is WordFoto, and it is pretty cool. The images that you can create with the app by combining pictures and words are both visually interesting and a little disturbing. Perfect for the theme of my elit piece! When looking pictures to upload into the app, I looked on Creative Commons. I then played around with creating my own WordFoto. Here are some of my results: