Gaming is a complicated concept. At first it may seem easy; any kid if asked to define a game would describe an activity they could play at recess with friends, a sport, or even a graphic video game on a gaming console. Even I would define a game as something you play that is restricted by set rules and played for general fun and enjoyment. Merriam Webster defines a game as “activity engaged in for diversion or amusement.” Amusement is the key word here. Bogost, who writes about procedural rhetoric in the reading for last class, would argue that a game is engaged in for education as opposed to fun and amusement. This being the case, I was definitely intrigued and confused when I played the games “Depression Quest” and “Howling Dogs.” When I learned that the next unit for our class was a video game unit my inner gamer was certainly pleased. It wasn’t until I played these two games that I realized the games we would be learning about were not anything I’m used to.
Bogost, in his book Persuasive Games: The expressive Power of videogames discusses procedural rhetoric and how video games can be interpreted as a new form of rhetoric; this new form of rhetoric can be seen in the procedures and interaction of all video games. He also argues that video games make claims about the world. This is certainly shown in the two games “Depression Quest” and “Howling Dogs.” The two games allow the player to step into the shoes of somebody who is struggling with a real world mental issue and experience what they are experience (to a certain degree). Clearly, this is not a game for amusement but it is an interactive way to learn more about the world.
The first game, “Depression Quest” places the player into an alternate universe where they are struggling with the terrible, real-world issue of depression. In this virtual world, you are faced with a series of events and a list of possible actions that you can choose from. However, the game makes a claim to the world and this terrible disease by portraying that it’s not as easy as just choosing the simplest solution to a problem. As the game progresses, your virtual depression either gets better or worse and depending on that your choices of actions are narrowed down to fewer and less ideal options. Options that most people would think would be best are shown but crossed out to display that it’s just not realistic for those struggling to be able to take such actions. Based on the decisions you make, the player at the end can succeed and beat depression after taking action and choosing the right scenarios. The game was created to raise awareness for not only depression but also suicide prevention.
In the other game, “Howling Dogs” a player is placed into a virtual somewhat reality where they are a patient locked in a claustrophobic metal room with not much to do. Players can choose to engage in different “activities” by utilizing virtual reality goggles to “escape” the room. However, at the end of the day the player is still locked in this room and scenarios start to repeat themselves. This game is quite different because it is never ending and there is not much of a storyline. I was highly confused when I was playing the game. Similar to “Depression Quest”, though, this game also works with Bogost’s idea of procedural rhetoric to shed light on a highly underestimated issue in the world – this time focusing on trauma. Victims of trauma are forced to live feeling trapped in their own world at all times, but as this game demonstrated, technology may facilitate to give the victim temporary relief or freedom. At the end of the day though, trauma victims are left in the same situation.
Both games certainly portray Bogost’s idea of procedural rhetoric through their educational and influential content.
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