{"id":4280,"date":"2025-11-03T11:02:07","date_gmt":"2025-11-03T11:02:07","guid":{"rendered":"https:\/\/sites.wsagames.com\/ea3g23\/?p=4280"},"modified":"2025-12-03T02:46:53","modified_gmt":"2025-12-03T02:46:53","slug":"week-6-game-poems","status":"publish","type":"post","link":"https:\/\/sites.wsagames.com\/ea3g23\/2025\/11\/03\/week-6-game-poems\/","title":{"rendered":"Week 6 – Game Poems + Critique \u270d\ufe0f"},"content":{"rendered":"\n

(Phase 3 Development)<\/p>\n\n\n\n

On Monday, Jordan showed us some of his Game poems from The Gametrekking Omnibus<\/a>, a collection of Game Poems inspired by his travels in Asia. As he describes them:<\/p>\n\n\n\n

‘They have few clear rules or objectives, and seldom include elements that align with traditional notions of “fun.” Rather, they are games about slowing down and paying attention, being open to unusual experience, encountering the other, and processing response. I often refer to them as “notgames” or “game poems.”‘<\/em><\/p>\n\n\n\n

These are ways to explore serious topics through simplistic graphics. These games ranged from lighthearted, sweet experiences to historic horrors and dark pasts of a country, like the two games that my classmates played below.<\/p>\n\n\n\n

    \n
  1. The Killer – A walking simulator about Cambodia with a choice at the end.<\/li>\n\n\n\n
  2. Grandmother – A point-and-click game about cleaning your grandma’s grave.<\/li>\n<\/ol>\n\n\n\n
    \n
    \"\"<\/figure>\n\n\n\n
    \"\"<\/figure>\n<\/figure>\n\n\n\n

    What do people think makes a good Video Game?<\/strong><\/p>\n\n\n\n

      \n
    1. Narrative: Telling good stories.<\/li>\n\n\n\n
    2. Gameplay: Crafting fun, balancing stories.<\/li>\n<\/ol>\n\n\n\n

      What is a Game poem?<\/strong><\/p>\n\n\n\n

      Much like a normal poem, Game poems have all of the same aspects that<\/p>\n\n\n\n

        \n
      1. Game poems are short.<\/li>\n\n\n\n
      2. Game poems juxtapose signified meaning with material meaning<\/li>\n\n\n\n
      3. Game poems are bound to metaphor and ambiguous imagery<\/li>\n\n\n\n
      4. Game poems are hyperbolic<\/li>\n\n\n\n
      5. Game Poems are subjective<\/li>\n\n\n\n
      6. They make use of poetic expression<\/li>\n<\/ol>\n\n\n\n

        Jordan opened up the idea of a game poem being an accessible and inviting way of game creation. Ways to document experiences that are not well explored in the games industry. He also mentioned Bitsy games, which we created in Year 1, like the Crying Game, a game based on the experience of crying and lying in bed. I definitely do want to make more expressive games, whether tiny or large, about unique experiences that people usually find difficult to “gameify”, like one of my topics, Hair Braiding. As someone who has a lot of marginalised identities, expressing them through games is a must for my future as a game designer. I think creatives need to be the change they want to see.<\/p>\n\n\n\n

        Why care about Game poems?<\/strong> <\/p>\n\n\n\n

          \n
        1. Maybe you want to be a poet whose medium is video games. Poetry is personal, and so can games.<\/li>\n\n\n\n
        2. Making games from a poetry lens can help you to be a better game designer.<\/li>\n<\/ol>\n\n\n\n

          Poetry can be:<\/strong><\/p>\n\n\n\n

            \n
          1. Intimate and personal <\/li>\n\n\n\n
          2. Subtle and complex emotions<\/li>\n\n\n\n
          3. Beauty in moments<\/li>\n\n\n\n
          4. Slowing down<\/li>\n<\/ol>\n\n\n\n
            \n\n\n\n

            Lessons to take away from Game Poems<\/strong><\/h2>\n\n\n\n
              \n
            1. Strip away the inessential<\/em><\/strong>\n