Blogging the experience of gameplayhttps://www.gamelog.cl/gamers/GamerPage.php?idgamer=1908https://www.gamelog.cl/logs/LogPage.php?Log_Id=6497This is my response to my first 30 minutes of playing "This is the Police." I first realized that the game centered around a specific profession, reminding me of "Papers Please." the game started by showing the main character, a police chief, having a press conference about his future retirement. The reporters informed me that the mayor and the police department may be corrupted by making deals with the mafia. I was slightly convinced that the game may be unfair to the police by negatively portraying them by starting off with such scenario. The game let me decide how the main character respond to these allegations, giving me to develop my personal stance on the issue I may soon encounter. The first level gave me a better understanding on what the gameplay was about. I was able to be strategic in different scales; I was able to make macro plays by deploying which officers and when, and made micro decisions when the officers at the scene needed them. The moral goal was given as a worded instruction; The lesser officers and civilians die, the better job I was doing.Wed, 08 Nov 2017 01:12:11 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6497&iddiary=11385https://www.gamelog.cl/logs/LogPage.php?Log_Id=6465This is my analysis on my continued 40 minute-experience of Dishonored 2. After I found out that Dr. Hypatia is the Crown Killer, the subject of nearly all texts I came across, the game became Bioshock + Outlast. The game gave me two options to deal with the Crown Killer; I had to either kill her, or brew an antidote to return her back to the benevolent doctor she once was. It seemed that killing her was the simpler but unethical choice, so the dilemma felt like a Kantian test. The game didn't say anthing about the outcome of saving Hypatia's life, but I wouldn't be surprised if she became a benefit later in the game. The game shows depth by incorporating detailed context and lore in newspapers, documents, and audiographs, but they were so lengthy and abundant that it became a slight hindrance to the flow of the game.Fri, 29 Sep 2017 00:50:16 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6465&iddiary=11337https://www.gamelog.cl/logs/LogPage.php?Log_Id=6465This is my analysis on my continued 40 minute-experience of Dishonored 2. When I arrived at the docks of Karnaca, the game informed me about the Chaos level. The chaos level will become higher as I kill more people, and the severity of bloodfly infestation, relationships between you and allies, and the outcome for the story are affected by the chaos level. This information answered my question on whether killing or subduing mattered to the story, and I thought the moral message so far was as simple as, "Killing is bad in many ways." The supernatural powers reminded me of Vigors in Bioshock, but subtler and more utility-centric. I did not enjoy the bloodflies. I was able to understand why players would refrain from killing, just to avoid worse bloodfly infestation; terror has always been one of the most effective conveyors of moral message.Thu, 28 Sep 2017 00:53:58 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6465&iddiary=11317https://www.gamelog.cl/logs/LogPage.php?Log_Id=6465This is my analysis on my first 40 minute-experience of Dishonored 2. Before the actual game started, I was given a tutorial on basic game-mechanics. I found the swordplay mechanics interesting, because it was intricate enough to be comparable to another game, For Honor. Smooth first-person action and concise story progression made me think that this game prioritize player experience over character (like Overwatch), gameplay (like retrogames), and story (like Firewatch). Blood and gore, involuntary to my actions, happened frequently. After I was given a mission to take out Mortimer Ramsey, I noticed stealth was a major aspect of this game, like Assassin's Creed. However, instead of establishing "taking down opponents" as synonymous to killing (like FarCry), the game allowed me to choose among assassinating, subduing, combating, and passing by undetected. I was also able to loot civilians. After reaching a checkpoint, I was given a summary of my takedowns; numbering my civilians killed, hostiles killed, alarms rung, bodies detected, and detections. I may find a moral message when these actions lead to a certain consequence in the future of my gameplay.Wed, 27 Sep 2017 01:11:27 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6465&iddiary=11303https://www.gamelog.cl/logs/LogPage.php?Log_Id=6447This is my analysis of my forty-minute gameplay of Oxenfree. When I was given my first choice among three dialogues, I understood that I will have to be vocal about my decisions, affecting my relationships inside this five-person community. A player like myself can assume that having good relationships results smoother progress. An ethical argument arose in my head; a player with such assumption can have their norm perception negatively altered while trying to maintain good terms with Ren, who gets high on brownies time to time, or when trespassing into military territories to help out Clarissa. Disregard of real-life legal boundaries to achieve in-game goals is too ubiquitous of a game's encouragement to players to urge me to delve deeper. The game often coaxes the player to manifest his or her dislike for Clarissa in his or her choice of dialog, and furthermore supports the player when he or she decides to delay, or to refrain from, saving Clarissa. I think this is a bigger ethical issue from the one I mentioned earlier, because the problem it brings is a lot more applicable to reality. A player may find that disliking a person is a legitimate reason to neglect that person's crucial need for help.Tue, 05 Sep 2017 09:44:03 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=6447&iddiary=11271