Artwork #2: Appropriate

Artwork #2: Speak Fighter

Requirements for Speak Fighter:
A fighting game (this specific version uses Street Fighter 2 for the SNES)
Two controllers
Four players, these players do not need to know how to play fighting games, it is possibly better if they do not

Rules:
The players will divide into two teams. One member of the team will be the fighter who uses the controller but is not allowed to see the screen. The other team member will be the coach who can see the screen and gives the fighter information in order to win. The coach and fighter can only give information to each other in coded language. For instance, the coach can say, “you need to do the right thing,” in order to communicate that the player needs to move right, but the coach could not say, “go to the right,” as that makes the information too obvious. I suggest asking for examples of movie genres or television shows before the players compete and using one of the suggestions as a theme for how the players can communicate. For example, players could only be able to communicate as though they were in a western and would need to speak in an accent and use language associated with westerns.

Artist’s Statement:
This piece definitely change a lot from what I had initially intended. My original inspiration was based on a thought I had about how I found that using fighting game terminology to refer to things that had nothing to do with fighting games was incredibly funny. This thought spawned the concept of a fighting game that you played only by speaking, possibly using syllables as a means to simulate frame data or requiring players to complete a full argument to win. This idea proved to be far too abstract and complicated for this project, so I changed the concept a bit. My new goal was to create a fighting game with a verbal component, possibly requiring players to talk to each other while playing or only being able to attack while speaking. I had been watching speedruns of blindfolded Punch-Out!! for the NES which made me want to add a hidden information element to the game. I was also inspired by the boxer/coach relationship present in that game which made me consider adding other players to guide the fighters. Additionally, games such as the version of Tekken where taking damage was simulated using actual pain impacted the thought process for designing this project. This project, however, was intended to be a new way to experience trying to play Street Fighter rather than feeling a more literal impact from having played Tekken. This culminated in the original prototype of the game and also informs the language I use to refer to the players. The coded language was an attempt to maintain a verbal detachment from fighting games where now instead of fighting game terminology would be applied to non-fighting games, non-fighting game terminology would be applied to fighting games. Additionally, the sit down and play environment and improvisation required reminded me of the show Whose Line Is It Anyway. This directly inspired the optional rule to ask for a communication theme for the players to abide by in the same way that the host of the show would. In the final iteration, players and coaches sat facing each other which came about organically, as it was not a requirement for play in any of the rules. This solidified player groups as a team due to the direct contact that they had.

Speak Fighter: The Movie

It’s also worth noting that the players were instructed to speak as though they were in a Marvel movie in the attached video.

Tom Tang_Class Monoply

 

Game rule/modification on Monopoly:

Start of the game, the three players play rock paper scissors to determine the role of upper class, middle class and lower class.

  • Lower class starts with $500 Cash and no property
  • Middle class starts with $2500 Cash, both water and electric companies and properties from Valtic Ave all the way to New York Ave.
  • Upper class starts with $5000 Cash, all the Railroads and properties from Kentucky Ave to Boardwalk.

Upper class moves first, followed by middle class and lower class. The opportunity and chest blocks are just blank spaces. 

When stepping onto the tax block, the upper class will have to pay double, the middle class pays the same amount, and the lower class do not have to pay.

During their turn, the players can choose to donate to other players, there is a $1000 donation cap. Only half of the donation will be able to go through, the other half goes to the bank.

When facing a big amount of rent the lower class can choose to go to jail to avoid rent. 

Passing through the starting square means going over one generation, the players will gain ⅕ of their total savings. 

The game ends when one of the players goes bankrupt or the leading player is two generations ahead of the last player. 

 

Artist Statement: As Dada started as an anti-war movement, many of the artworks during this period are created to protest against social issues. My project took inspiration from Yoko Ono’s White Chess in which she modifies the traditional game chess to make it more similar to actual warfare where there is no clear distinction between friendlies and enemies. After learning about the Dada movement and Yoko Uno’s piece, I want to create something that reflects contemporary social issues: class conflicts and the poverty cycle. Using the existing game Monopoly, I was able to modify it to make it simulate the actual economic situation of upper class, middle class and lower class. In the hope to evoke the players’ strong emotion towards the unfair social phenomena of the poverty cycle. 

Situation puzzle game

Rule:

The player tries to reconstruct the whole thing after reading the sentence provided. Players can ask me questions about the case. I would just say yes, no and it doesn’t matter. The player needs to know the whole story of the case from these questions. The player has three chances to ask me for a hint about an item. I’ll tell them what it’s about. 

Artist statement:

The game mechanic I appropriated was a game called 海龟汤 (Turtle soup) in China. The rules of the turtle soup is to give an incomplete story, let quizzes to ask the possibilities of the problems, and ask to solve these problems can only say “yes”, “no” or “has nothing to do with it” these answers, so the quizzes must in limited clues in the reasoning of the event, by defining the Q&A piece together a full picture of the story. I didn’t change the rules of the game too much because the mechanics were hard to change. When I was playing on my own I found it a bit difficult to tell what happened by asking questions alone, so I added in the rules that players could ask me for three items. In this work, I borrowed more from the story in the game. I adapted it from a story in a book I read in junior high school called 十宗罪 (Ten Deadly Sins). The original story is like a murderer killed a woman and was heard by a blind man. The blind man asked what he was doing. He said he was mopping the floor. The next day the police saw blood all over the floor, but there were no footprints, because the killer had used the body as a mop and had wiped his tracks with the victim’s hair. And then I adapted it into a man had to go to a public toilet because his toilet was broken. It was dark in the toilet and he met a cleaner. He said hello to the cleaner and went to the bathroom. The next day the police knocked on the door and said there had been a murder in the toilet yesterday. The man quaked when he saw the photos of the crime scene. Why is that? I think appropriation can make the work more perfect, because the original work is already perfect. It can also give new life to previous works when used for appropriated by later people. After being used for appropriation, people will pay more attention to the original work. My inspiration comes from one piece from Grapefruit, which is a conversation piece. In that piece, people are trying to use their words to convey information. People also need to judge whether the information they are being given is correct. That’s pretty much the same idea as my game. I don’t give the player too much information, but the player still has to piece things together from the information I give them. Unlike Yoko Ono, my information was correct.

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City Guesser Appropriation – (Joey)

City Guesser 2-Players

My appropriation game is a modified version of a very popular game online called City Guesser. In the game City Guesser, players would observe a video playing on their screen and based on the video that’s playing, try to guess the location of the video. There are buttons on the top right of the video that can help players by controlling the video so that they can get more information. After guessing where the location may be, the game will tell the players how far they are away from the actual location of the video. There is no score or map limit, so players are free to continue guessing and playing however long they want.

My Modified Version of City Guesser:

Players:

  • 2 Players

Rules:

  • At the start of the game, position the players so that Player 1 cannot look at the video and Player 2 can. Player 2 must give as much detailed information as possible to Player 1 about the video, however, Player 2 cannot make the guess about where they think the place may be. They can give suggestive guesses but ultimately, Player 1 makes the decision about where they think the place is.

Modifications/Setting Changes:

These are additional rules that the players can add to make the game more challenging

  • Limited Amount of Questions
  • Time Limit
  • The Player describing may not suggest any country
  • The Player describing may not say what language is spoke or shown in the video

Artist Statement

Throughout the process of forming an idea of appropriating a game, I was mainly focused creating ways to make an original game more frustrating, difficult, or unique. Yoko Ono’s piece, White Chess, really inspired me to somewhat appropriate a game where there was a loss of information. In Yoko Ono’s game, the lost of information was what game pieces the players control where if the players do not completely remember all of their piece’s positions, then this game essentially becomes impossible to play. Likewise, when appropriating my game, I realized that by taking away a player’s vision and hearing, my game creates the same type of challenge as White Chess in terms of a mental challenge where that player must constantly infer about the given information to formulate and achieve the goal of my game. Unlike Yoko Ono’s piece, the difficulty in mine comes from the coordination between players and whether the descriptive information correctly leads the other player to the destination or that information becomes too opinionated to the point where other player wrongly infers about the location. These types of interaction between players interests me where I believe in the idea that enjoyable or good friction within challenging games creates some sort of satisfaction or euphoric feeling when overcoming these hurdles. Although the players might not get the right location or be remotely close during their first attempt, after multiple attempts, the players would start to understand certain tips or tricks that would help each other, possibly forming some interesting way of communication exclusive to both of them, overcoming each obstacle until they finally have a guess that is close to the location. However, to constantly facilitate these challenges and feelings, I felt the need to create more modifications or settings to my games that would ultimately create more obstacles, which once again, create the sort of interactions that I would like to see in a my game.

Documentation:

Peers in my class playing my modified version of City Guesser.


One player is describing the location to the other player.

The player choosing the where they think the place may be.

The final result of the video’s location.

Appropriation: No Three in a Row-Xinyi Ren

This game was first inspired by Yoko Ono’s white chess. After seeing this work, I wanted to start with a board game, so I chose to learn from the simplest tic tac toe game. On the other hand, due to the central idea of “anti-art” of dada doctrine, I decided to make some reverse modifications to the core game mechanism of tic tac toe – but the finished product will still be a game, just as dada art is still art.

First, I expanded the chessboard from 3 * 3 to 5 * 5. The reason why tic tac toe is an easy and fast game is largely due to the size limit of the chessboard, and I want players to spend more time “hesitating”. Secondly, I modified the two core mechanisms of the game: how to proceed to the next step and how to win. In the process of the game, players should not only think about their next step but also think about how the other party will take the next step. The key is not how to control your own actions, but how to control your opponent’s actions. Finally, in the traditional tic tac toe, three in a row means victory, but in this game, it means failure. I think this is the most interesting part and can also bring the most novel experience to players: everyone will find ways to avoid the victory means they are used to.

 

Artwork #2: Musical Card Game

Instructions for this game (each player will go one at a time) :

  1. Shuffle your hand of 13 cards
  2. Draw the first three cards from the top to form a chord
    • If card is between 1-Q, the card’s note must be played in this chord
    • If the card is a King, you may select any note you would like to add to the chord
    • If the card is an Ace, you may replace the drawn chord with any chord you would like
      • Drawing an Ace immediately negates previously or future drawn cards for this chord
  3. Repeat steps 1 and 2 three times until you have your chord “progression”
  4. The player now has two minutes to create anything with the progression they have drawn
  5. All players will come together at the end of these two minutes to perform their composition to one another
  6. The players then decide on a winner

This musical game was greatly inspired by Takako Saito and her modifications to the game of chess. Pieces like her “Sound Chess” game got me to think about how I could manipulate traditional games into something that stimulates the senses. Similarly to that piece, I thought it would be a great challenge to incorporate something musical to a traditional game of cards. After having difficulty pairing instrumentation to an already existing game of cards, I decided it would be best to create a new one. I came up with this idea after sitting at my keyboard for a while and being stumped on where to start in terms of making a song. It then came to me that I could make a game where the deck of cards started the song for me. With this new random way of putting chords together, it is much easier to overcome writer’s block in a fun way.

Roommate playing this game:

Classmates playing this game:

Appropriation Project #2

The Death Run Game

The objective is simple. You have One hour. Take any story game or sandbox game that has unique death animations for the main character or death text showing how the main character died. Within that one hour, find as many ways to reveal the death text or find as many unique death animations for the main character.  Both players must agree upon the game and have their own copy ready. The goal is not to die as many times but find as many different ways to die that reveal new animations for the character to die. Example of some games you can do that have multiple death animations: The Tomb Raider Series (from 2013 onwards), The Last of Us, and Dead Space.  For the ones with death text you can use Minecraft. In the sandbox games that are open world and potentially multiplayer, PVP death is not allowed (since it isn’t even beneficial for the player killing). For the story games one must start from the very beginning or a similar save point. 

 

What made me choose this game and its rule set is that I have always been intrigued by games that have made their main character suffer unique death animations, like the developer has done so much to build their character to then give them one of many very brutal deaths. I would love in the future to be able to make a mod out of adventure game that involves finding the unique death animations and put it as a score at the end of the game.

https://www.youtube.com/watch?v=ub2lv0XVCxk

Justin Brady Appropriation Project: Story Time

For my appropriation piece, I organized a story-telling game throughout the entire class. I acquired a small green notebook at the school store and wrote a basic rule outline on the first page. Then I wrote a few words on the next page of the notebook and handed it off. I explained the rules verbally to the player, which were such:

Once you receive the book, you must write a short story on the page that starts with the words provided to you by the previous player. DO NOT LOOK AT PREVIOUS PAGES FOR CONTEXT OR INSPIRATION. The only information players may utilize is the few words written on their page by the previous player. Once the player fill the page, continue the story for a few words on the next page, then hand the book off. The process repeats until each player has written in the book.

I was inspired by the sort of stream of consciousness-ness of Hugo Ball’s poetry which ultimately made no sense to the listener. I thought it would be interesting to replicate that concept but with the intention of making a somewhat comprehensible end product. These are the pages of the story I ended up with, from start to end.

Nico Ulloa Appropriation Post: Mute Trivia

My appropriation project was a trivia game in which the neither the host nor the audience where allowed to talk and the only way it was permitted to answer questions was using audio clips from the internet. The host would ask a question through a text-to-speech program (Google Translate) and the guests set off searching through the internet to find an audio clip stating the answer– however, they’re not supposed to find an audio clip of the answer itself but of someone saying the answer (e.g: “Who’s the owner of Tesla?” responded by a Rick and Morty clip saying “Elon Musk.”) Additionally, the guests are allowed to stitch together multiple audio clips to answer their question. When a guest is ready to answer they raise their hand, at which point the host selects them and nods or shakes their head to verify the answer.

The initial iteration of the game was simply having to answer with audio clips, but after a couple of rounds I decided to revise it to focus more on the audio since the conversation kept overriding it. As such, the mute part was introduced. The result was a surreal experience where multiple audio clips would overlap each other for about a minute until someone would raise their hand, the room would fall dead quiet, an audio clip would play, and then it would all happen again. It especially became strange when players would stitch together answers or when they’d answer wrong and the cacophony began again– the game felt like it had a strange rhythm. The resulting soundscape felt like something that would not be unusual presented next to Hugo Ball’s Karawane, if only a bit more coherent.

Exquisite Caption (Hastings)

My appropriation game has four players using four panel comic strips in a ‘New York Times’ caption contest/exquisite corpse mashup. The materials are simple: each player requires only a writing utensil, and comic strips are provided with the text blanked out. Each player begins with a single strip, filling in the missing text of the first panel with anything they want. The strips are then passed around the table and the process is repeated four times at which point the strips will be complete with text.

The game draws heavy inspiration of course from exquisite corpse–although each player is able to see all of the panels and what has already been written, the prompt was naturally open-ended enough to create a similar feeling of freedom and creative liberty. I felt that allowing players to work with this continuity was an integral part of creating the experience I was after; some of my favorite strips produced in playtesting are displayed in this post. However, in true exquisite corpsian fashion the setup certainly didn’t deter some truly baffling strips more akin to Hugo Ball’s nonsense poetry than anything else.

After reading ‘The Well-Played Game’, I was also determined going into this project to rethink the competitive experience I was creating. It was hugely important to me that this game played in more of a couch co-op style where elements of challenge still exist, but the players are in direct collaboration in facing those challenges together. There is no winner, only a series of funny strips everyone was involved in creating.

I manufactured the blank strips by photocopying them out of treasury compilations, and later editing them digitally to remove the text. In the first iteration of the game, they were all from ‘Calvin and Hobbes’ (a personal favorite), but the game was later expanded to include strips from other treasuries I had on hand: ‘Peanuts’, ‘Pearls Before Swine’, and ‘The Adventures of Tintin’.

The inclusion of ‘Tintin’ was based on a recommendation by our guest playtester, who suggested I appropriate potentially controversial material in order to transform it–notorious for problematic representations of people of color, ‘Tintin’ seemed like a good choice to test this out. It raised some eyebrows in playtesting, but didn’t have a significant enough impact to warrant keeping it in the final game.