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No Class (4/4) + HW for During Classtime

Time Skip #1: War → Present (Billy with Roland Weary → Billy at the Dentist)

This time skip is disorienting, much like Billy’s own experience of time. One moment, he's freezing and near death in the snow during the war, and the next, he's passively sitting in a dentist’s chair. The emotional distance between these moments is staggering contrasting life-threatening panic and physical suffering with the dull, sterile calm of domestic civilian life. But Vonnegut isn’t just trying to jar the reader he’s also drawing a connection. Billy’s numbness in both scenes are highlighted as in the war, Billy is dissociating from trauma. While in the dentist’s office, years later, he’s still dissociating from his life, routine, memory. The skip shows how war trauma didn’t stay on the battlefield; it bled into every part of Billy’s existence. We’re meant to see that his detachment is not his new personality but a scar of his past.

Time Skip #2: Present → Past (Billy watching TV → Flashback to Dresden)

This movement—from mundane to horrifying—is flipped. Watching a war movie play in reverse, Billy imagines bombs flying back into planes, factories being un-destroyed, lives being un-killed. It’s a haunting, hopeful fantasy. And then we’re pulled into reality: Dresden, firebombing, rubble.

This skip is powerful because it shows Billy trying to rewrite time, to impose meaning or mercy on the senselessness of war. His mind can’t separate past from present because the trauma is still living inside him. The war isn’t over. Not for Billy. Not in his mind.

Vonnegut is asking us to feel how inescapable trauma is. By putting peaceful domesticity next to moments of violence, and by reversing the chronology, he shows that time doesn’t heal all wounds. It loops. It stutters. It haunts.

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Undertale Homework

The most pleasurable about watching others play Undertale is seeing someone’s genuine reaction to the game's options. For example, seeing the player's decisions unfold in real time and choose to flirt with the strange blob that has just showed up on the screen is really fun. I also enjoy the game design as the brightest colors are in the center of the screen with a dark background making it obvious where game designers want us to focus on.

The most boring aspect of both playing and watching Undertale tends to be the repetition. In particular, falling repeating into the same portal in the ground gets repetitive.

Undertale can be seen as a commentary on choice, morality, and the consequences of our actions. The game forces the player to confront the implications of their actions, whether they choose to harm or show mercy to others which can be seen as a critique on the glorification of violence in many games, offering a different kind of game.

It's both different and challenging to interpret a video game versus a work of literature because literature is typically a fixed narrative, offering a clear path for interpretation based on themes, characters, and symbolism. While in video games, especially Undertale, the narrative is shaped by the player's actions. This gives me perspective on prevalent habits of mind/social conditioning in our current moment reflects a shift in cultural attitudes towards interactive media. Games like Undertale challenge players to engage with content in a way that reflects real-world consequences. There are different values I can see in analyzing games having now directed my attention at a few as games allow players to think not just about the story being told, but about our role in shaping and participating in that story. Those games might be offering a deeper, more immersive understanding of both the medium and our place in the world it reflects.

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Katamari Damacy Homework

One of the most enjoyable aspects of Katamari Damacy is the inherent absurdity and playfulness of the game. Watching someone roll the katamari from a tiny ball into a massive collection of random objects is oddly mesmerizing. It’s not just the visual spectacle, but the rhythm of the growing ball accumulating anything and everything in its path is oddly satisfying. The whimsical soundtrack and the exaggerated nature of the items you collect create childlike joy. The game’s mechanics are simple, but that simplicity is what makes the spectacle so engaging, creating an experience that feels lighthearted.

However, the aspects of the game can make the game feel repetitive and boring. The basic mechanic of rolling up objects can become monotonous, particularly when you're stuck on a level or struggling to gather the necessary items to complete the katamari. The game feels a little shallow like a never-ending loop of collecting without much context or purpose.

The connection between Katamari Damacy and William Gibson’s Pattern Recognition is that in Pattern Recognition, Gibson explores how we live in an information-saturated world where we constantly seek patterns, meaning, and significance in the barrage of images and artifacts around us. Katamari Damacy, in its own quirky way, seems to comment on this overload by presenting a world where everything is gathered into one chaotic ball. This could be seen as a metaphor for how we consume culture, products, and even identities in an increasingly fragmented world.

Katamari Damacy can be seen as playful commentary on how we live in a world where everything is consumed, collected, and cataloged, but that accumulation rarely leads to true meaning or fulfillment. The game invites us to reflect on how we live in an increasingly chaotic, cluttered world overwhelmed with randomness, much like the katamari itself.

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The Witness HW

As I've said before I’m not super into gaming, but I did find The Witness kind of interesting. The most pleasurable part for me, as someone who isn’t a hardcore gamer, was the feeling of accomplishment when I solved a puzzle. It wasn’t too fast-paced or violent, so I didn’t feel stressed out like I usually feel with other games. It was kind of relaxing, but in a tricky way. Watching someone else play was also cool because I got to see them figure things out. It's like seeing them discover connections between puzzles was satisfying.

For me, it got kind of boring after a while. The puzzles felt repetitive, and I found myself watching the same thing over and over again. It wasn’t action-packed or super dramatic, which is what I’m used to when I watch others play games. Watching someone get stuck on a puzzle for a long time wasn’t super entertaining after a while either. I just wanted to see them move forward and find new things, but it felt like the game was kind of dragging.

From the game, I think about how, in 2016, people were definitely craving things that made them slow down and think. Everything around us was kind of chaotic, especially with politics and social issues, and The Witness was almost like an escape from that. It’s a game where you get to focus and challenge your mind, and I think that reflects how people, especially in the U.S., were starting to get tired of all the noise and wanted something that was more calming or thought-provoking. It’s like people were looking for a way to disengage from all the chaos and focus on something that makes you think more deeply.

I think The Witness fits into PlayStation 4 being a platform for gaming. The Witness is designed to be a thoughtful experience, which seems to align with the way PS4 was marketed as a device for a more mature, reflective audience.

I feel like The Witness is a commentary on how we understand the world around us and how we process information. The puzzles are kind of like life when sometimes we can’t see the answer right away, but if we step back and think about things differently, we might figure it out. The game is about perspective, patience, and focus because sometimes we get distracted by all the noise and chaos, so it’s hard to focus on what really matters. The game teaches you to slow down.

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Pacman HW

(Unable to take a picture of my notes sheet from class because I turned it in during class)

Honestly, I didn’t really enjoy playing Pac-Man because it made me feel pretty anxious. The whole time I was playing, I felt like I was always on edge trying to avoid the ghosts, and I didn’t feel in control. It was hard to enjoy it because it felt like one mistake could ruin everything, and the constant pressure of keeping track of the maze, the ghosts, and the pellets just made me nervous. But I can see why others enjoy it as it’s fast-paced, and I can see how people get caught up in the challenge of trying to beat their own score. It just wasn’t for me, though, because the anxiety kind of took away from the fun. Watching others play, however, was a totally different experience. I had a lot more fun cheering my peers on. There was something exciting about seeing them dodge the ghosts and get to the next level. I didn’t feel the same pressure, so I could just sit back and enjoy the game. It was suspenseful and high-energy but I didn’t feel that stress because I wasn’t playing.

For me, the most boring part about playing Pac-Man was feeling like I was stuck in a loop. The game doesn’t really change much as it's the same thing over and over again, just trying to avoid the same ghosts and eat the same pellets. It started to feel like I wasn’t getting anywhere, and I didn’t like how repetitive it was. I kept failing, and it just didn’t feel fun to keep doing the same thing over and over without much progress. Watching others play, though, was less boring for me. I got to focus on their moves and how they were handling the game. It wasn’t as repetitive for me because I wasn’t doing the same thing over and over again. I could enjoy their success without the stress.

The way Pac-Man was so popular in the U.S. in 1980 makes sense when you think about the culture back then. The game is very competitive, with a focus on high scores and beating your own progress. People loved the idea of challenging themselves and competing, and Pac-Man tapped into that perfectly. I also think the simplicity of the game made it easy for people to get into, even if they weren’t hardcore gamers. It was also everywhere like in arcades, at malls, and even in pop culture. This makes sense in the U.S. because there was a big push for entertainment and leisure activities at the time, especially among young people. In Japan, though, I think gaming culture wasn’t as focused on that kind of individual competition. Japan had a different kind of arcade culture, and Pac-Man wasn’t as groundbreaking there as it was in the U.S. The U.S. embraced it because it was a new and exciting form of entertainment, and the game’s competitive nature really resonated with American values around personal success and achievement.

Pac-Man seems to be a commentary on the idea of cycles. The game just loops over and over again, which is kind of like life or work where you’re always moving forward but repeating a lot of the same actions. That repetition made me feel stuck and anxious, and maybe that’s a metaphor for how people, especially in the 80s, were becoming more caught up in a fast-paced, competitive world without really stopping to reflect or relax.

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Asynchronous Classtime Assignment

In this passage from Herland, the focus on the obernut moth serves as a powerful symbol for a range of social issues important to Charlotte Perkins Gilman, particularly environmental sustainability, control over nature, and the ethics of conservation. The moth, specifically the way it is treated by the Herland society, becomes representative of how humans interact with the natural world and the careful balance required to live harmoniously within it. The moth also reflects an underlying theme in *Herland* about the control of nature for human benefit, a reflection of how human societies—particularly patriarchal ones—often exploit the environment for economic gain. In contrast, the women of Herland seem to represent a more thoughtful, considered approach, where each creature, even a seemingly insignificant insect, is carefully examined and understood. There’s an implication that their society values knowledge, stewardship, and sustainability, and they see the moth not as a mere pest but as part of a complex ecological system that must be managed responsibly.

2. These names set the stage for the men’s interactions with the Herlanders, highlighting how their preconceived notions of gender roles and society clash with the reality of a female-dominated world. The contrast between these labels underscores the tension between patriarchal views and the liberating alternative that Herland represents. The names are not just geographical; they are deeply reflective of the societal values and assumptions each group holds, and the journey the men embark on is as much about confronting their own biases as it is about exploring the physical landscape of Herland.

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Silent Session Assignment (2/14)

A single word that I think defines me or that I see as part of my identity is interesting.

A word that could be considered "the opposite" of #1 is boring.

Not boring

In considering "not boring" as a part of myself, I realize it allows for a space of versatility and complexity that might not be captured by the word "interesting." "Interesting" is often associated with excitement, curiosity, or intrigue, which are qualities I value and identify with. However, "not boring" opens up the possibility for me to also embrace moments of calm, simplicity, or routine—parts of my personality that aren't necessarily thrilling but are still meaningful. It reminds me that I don't always need to be engaging or stimulating; sometimes being quiet, reflective, or just existing without the need for constant excitement or novelty is just as important. This neutral phrase, then, acknowledges the layers of who I am—allowing room for me to not just be defined by being "interesting," but also by the more subtle, quieter aspects of my identity.

This passage from Herland critiques societal attitudes toward women, reflecting a perspective that commodifies youth and beauty. It highlights how women are valued primarily for their charm when they are young, and as they age, they become less visible or are relegated to more "private" roles, suggesting that their worth is tied to their physical appearance and social utility rather than their individuality or accomplishments. The underlying message is a commentary on how society marginalizes women as they grow older, positioning them as less important or less desirable once they no longer fit the idealized image of youth and beauty.In the big picture of Herland, this passage reveals a major theme in the novel: the contrast between the patriarchal, oppressive values of the outside world and the egalitarian, nurturing society of Herland. In Herland, women are not defined by their appearance or how they are treated by men, but by their intelligence, autonomy, and contributions to society. This passage calls attention to the societal tendencies that Herland seeks to transcend, offering a critique of the status quo that values women only for their youth and beauty, and perhaps hinting at a deeper exploration of how gender roles can be reshaped.

Terry, who holds a traditional and patriarchal view of women, would likely see this passage as confirming his assumptions about women's roles in society. He might argue that women are indeed most valuable in their youth and beauty, and that it is only natural for women to "pass off the stage" as they age, because their value is primarily in their appearance and allure. Terry would likely dismiss the notion of women as anything more than decorative or supportive figures, with little regard for their inner lives or contributions outside of their physical attractiveness.

Jeff, more open-minded than Terry, might see the critique of how society treats women as interesting, especially considering the context of Herland. He may be more inclined to view the passage as a social commentary that aligns with his growing understanding of Herland's societal structure, where women are valued for their intellect and contributions. Jeff might consider how different the Herlanders' society is from the outside world, where women are often seen as mere "decorations" and then discarded as they age. He might start to question the values he had before entering Herland, realizing that the treatment of women in the outside world is not universal and could be improved.

The Herlanders would likely be baffled by Terry's perspective, as it starkly contrasts with their own values. In Herland, women are not defined by their looks or their age, and the idea of “passing off the stage” would be inconceivable to them. They would likely see Terry’s view as outdated and oppressive, reflecting the deep-rooted gender inequality of the outside world. On the other hand, they might respond more thoughtfully to Jeff’s perspective. While they would agree with his criticism of the outside world, they might also want to challenge him to think more deeply about how society could evolve beyond these harmful stereotypes. They would likely see Jeff as someone who might be receptive to understanding their way of life.

Reflecting on this passage, I see an opportunity to examine my own views on how women are valued in society. Growing up in a world that often glorifies youth and beauty, I recognize that the pressures to conform to societal expectations can shape self-esteem and identity, especially for women. This passage calls attention to how those pressures can marginalize people as they age or as they stop conforming to societal ideals. It makes me think about how I, too, might internalize some of these ideas and how they shape the way I view myself and others. However, like Jeff, I also recognize the value of looking beyond traditional, restrictive narratives and envisioning a society where individuals (regardless of age or appearance) are valued for their contributions, intellect, and character. This aligns with some of the reflections I made about how I would want to challenge these narrow societal standards in my own life.

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I'm actually pretty familiar with "How the Other Half Lives" by Jacob Riis as we spent the better half of 8th grade studying the tenements and the effects of poverty amongst immigrants. As a child of immigrants myself the photos of everybody squished into an unimaginably tiny living space isn't mortifying as it was my reality for the first 10 years of my life. My family of 4 fit into a 1 bedroom apartment because that's all we could afford.

Stephen Crane likely chose fiction over objective journalism to draw attention to the urban poor because fiction allows for a deeper exploration of individual emotional and psychological experiences. Through the character of Maggie, Crane is able to delve into the nuances of her internal struggles, desires, and the harsh societal forces that shape her fate. Fiction provides the opportunity to humanize the urban poor, offering readers a more intimate connection with Maggie's suffering, rather than just presenting her as one of many faceless individuals in a documentary-style report. By using narrative techniques like symbolism, character development, and vivid description, Crane paints a picture that appeals to the reader's emotions, helping them understand the complexities of poverty in a way that statistics or factual reports might not. Maggie’s story, in particular, has a tragic and personal quality that might stir empathy, as readers can witness her personal downfall rather than just reading about a social issue. While Jacob Riis's How the Other Half Lives presents a factual, documentary-style portrayal of poverty, it risks distancing the reader from the human experience behind the facts. Maggie’s fictional account in Maggie: A Girl of the Streets engages with the reader on a more emotional level, fostering understanding through storytelling. Rather than relying on an outsider’s objective observations, Crane allows the reader to feel the experience of poverty and the inevitable social forces at play. Thus, Maggie’s fictional story has the power to reach the heart and imagination, achieving an effect that could resonate more deeply than a factual account could.

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Class Cancellation (2/14)

In The Garden of Forking Paths by Jorge Luis Borges, Ts’ui Pen’s labyrinth is a complex, metaphysical structure, not a physical one. Ts’ui Pen, a Chinese scholar and writer, created a novel and a labyrinth that are intertwined. The labyrinth represents the structure of a book in which every possible outcome or decision creates a branching path, and every moment exists simultaneously as multiple possibilities. It's "infinite" because it isn’t confined to one linear path; instead, it branches out in every direction, where every choice splits into new possibilities, creating a web of countless outcomes and interconnections. The labyrinth reflects the infinite complexity of decisions and the idea that all paths, all actions, all outcomes are occurring at once.

According to Albert (the character in Borges' story), the solution to the riddle of the Garden is the realization that time itself is a labyrinth. Time isn’t linear or fixed, as we usually think. Instead, every decision, every moment leads to a multitude of outcomes. The riddle suggests that every moment has many possible futures, and there is no singular path, just as Ts'ui Pen’s labyrinth suggests.

Yu Tsun is being followed by Dr. Albert, who is a part of the German intelligence service during World War I. Yu Tsun is a Chinese spy working for the British, and Dr. Albert, realizing that Yu Tsun’s mission is about to be compromised, is following him to stop him from completing his task.

The narrative in The Garden of Forking Paths is teaching us about the complexity of choices and the consequences of those choices. It shows how every action leads to countless possibilities, and how, sometimes, even in the face of death or danger, the future is shaped by the convergence of all the paths we take. This theme is particularly relevant in the context of time and decision-making—how the present is the intersection of countless pasts and futures.

The passage also reinforces the idea that every moment of decision holds infinite weight, and that we are at the mercy of a multitude of possible futures. While we experience only one outcome (the one in which we exist), the others—that are just as valid—remain hidden from us. In the context of the story, this is particularly poignant as Yu Tsun is constantly making decisions that affect his life and the lives of others, unaware of how they intersect with the larger, infinite web of time. Even in the face of death or danger, the choices he makes at each juncture change the outcome of the future.

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Snow Cancellation (2/10) 2 /3 questions

In modern life, this dynamic is evident in various contexts—whether in workplaces, social media, or consumer culture. People often feel the need to celebrate or promote things that may not actually serve them, but that they are conditioned to accept or are rewarded for celebrating. Think about the ways individuals, for example, are compelled to "speak" about the benefits of technology, productivity culture, or societal norms—often highlighting their "positives" while overlooking the fact that these systems can be overwhelming, dehumanizing, or even exploitative. There's an ironic beauty to how we frame these systems as good or beneficial, often because we are told to, or because we’ve internalized these values. In Liberation Day, Mrs. U’s forced articulation of beauty mirrors this, where the things she speaks about aren't necessarily reflective of her true feelings, but of a constructed narrative or expectation. This mirrors the modern tendency to present life as better or more fulfilling than it often feels—such as the curated, idealized versions of ourselves we often present on social media, or the way individuals in workspaces may talk about how "rewarding" their roles are, despite the underlying pressures.

Mr. U's name stands out as significant. On the surface, it seems like an ordinary name, but it could be a reflection of something more. The "U" might symbolize the "you" in the story, indicating that his actions or his very existence might represent something that could apply to anyone. "U" could also imply a universal aspect—maybe it represents a society, a force, or an expectation that binds people, that forces them to bend to certain norms or ideologies. In that sense, Mr. U could represent the way systems of power or control operate in our own lives, often with subtlety, forcing individuals to speak and behave in ways that serve those systems. The "you" could be anyone caught within those expectations. Mr. U’s actions could reflect how we all, in different ways, participate in these systems or do things to preserve a status quo, even when it doesn't ultimately serve our genuine self. The interaction between Mrs. U and Jeremy clarifies this dynamic, showing how language and the act of speaking can be a tool of compliance or survival, rather than genuine expression or liberation. The compulsion to speak what you’re told can be stifling, but it’s often the way we engage with the world around us especially when we feel unable to do otherwise.

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ENG 236 HW 1

Original: “[Formidable] women, with uncombed hair and disordered dress, gossiped while leaning on railings, or screamed in frantic quarrels.” Synonym: “[Intimidating] women, with uncombed hair and disordered dress, gossiped while leaning on railings, or screamed in frantic quarrels.”

The meaning of the passage changes because of this replacement as the word formidable implies that the possession of a kind of "tending to inspire awe or wonder". In the passage, "formidable" seems to evoke a sense of strength or dominance, despite the disarray of her appearance. While "intimidating" suggests that the women might be frightening in a more direct way, but without the same implication of awe or respect. It is a term more associated with fear than with admiration. Therefore, causing others to feel uneasy or scared and threatening or unsettling rather than powerful or commanding. Making her seem scary or unnerving rather than powerful or admirable figures.

As a contrast, the original word, with its distinct meaning, is important to the passage because Crane's original use of "formidable", highlight the women’s strength despite their chaotic appearance but substituted with "intimidating", the story will lean toward depicting the women as disruptive or off-putting, rather than acknowledging their strength or influence. Crane’s specific choice of this word impacted the meaning of the passage as a whole because adds a layer of respect or complexity to the women’s character, making their presence in the passage more meaningful.

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ENG 220 HW 1

Original: “What crappy [verisimilitude]. No wonder I’m in the red. No wonder my rent’s overdue.”

Synonym: “What crappy [realism]. No wonder I’m in the red. No wonder my rent’s overdue.”

The passage changes because of this replacement of the "verisimilitude" with "realism" as it would shift the tone and complexity of the sentence. This word means and realism is different from the original. I chose the word "verisimilitude" because I had never seen it until now with it seeming more academic carrying a specific meaning tied to the appearance of truth or reality. "Realism" while it captures the same idea, feels a bit less formal and wordy, which can make the sentence sound slightly more distant and explanatory. The word "realism" also hints at something that looks like reality which keeps the meaning intact.

The original words precise meaning is the quality or state of being verisimilar which means having the appearance of truth. It is important to the passage, Saunders's specific choice of this word impacted the meaning of the passage as a whole as it elevates the intellectual tone of the passage. It implies that the "crappy" nature of whatever is being described isn't just poorly executed but a failure to authentically reflect reality. Using "verisimilitude" allows Saunders to critique something with a more nuanced, sophisticated vocabulary, showing the disconnect between appearance and truth.

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ENG 220 Modern Culture and Media Orientation

I chose the Irish flag in relation to the world culture as I have no examples of my biological culture unfortunately. I could’ve sworn I had a red envelope hung up somewhere but I do not so my (fake) Irish heritage will have to do. I’m fully Asian with both of my parents being immigrants who grew up a town apart. They went to elementary school together and then eventually later found each other again in America. I wish to believe clear that my love for Ireland does not come from a place of shame for being Chinese but more a genuine love of Irish media and culture. Similar to how Ayo Edebiri is Irish, I’d also like to believe I am too. My friend Jonny got me that flag for my birthday last year ! My example of media is consuming both a YouTuber video and playing Mario kart at the same time in my friends Jonny and Holden’s room. I recognize that because it’s not my dorm room it’s technically not my space but I swear we do this in my room too I just forgot tot take a photo. The worlds they share is my friend Jonny and they do not compete.

Each of these things gestures to realities outside of my space as my preferred way of media consumption is along side others such as my friends. My friend Jonny also plays an important role of both being supportive as well as present in both my love for Ireland and ASMR YouTube videos. I was incredibly unopen to the idea of playing Mario kart initially as I was convinced that “games were for ONLY boys” growing up and because I had missed all those years of playing experience Id be really bad at it. But I can proudly say I’ve thankfully gotten 2nd place on a round or two before. Practice really does make perfect !

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ENG 236 Amer Lit/Civil War-Pres Orientation

I chose the things I took pictures of because the only time my space feels utopian is when it's filled with the people I love. However, my space only ever feels realistic when it's lived in and sort of cluttered. They relate to each of the above terms because having my friends over is an "impossibly ideal conditions especially of social organization" for me especially in my own space. Though, I recognize that my unconventional mess is what makes my space practical for me. These two things relate to each other only physically as the space I share with my friends is the same realistic and practical space I live in every day. They compete very rarely but it sometimes makes it difficult to find a place for everyone comfortably because of the overwhelming clothes in my collection.

Each of these things gestures to realities outside of my space. The clutter, while an inevitable part of my daily life, is tied to the practicality of living with the things I love and use, speaking to the reality of personal comfort and habit. It’s not just mess for mess's sake but rather my lived-in space, reflecting the unpolished and imperfect nature of my real life. On the other hand, when my friends are over, the space takes on a different, almost idealistic quality. It becomes a gathering spot, evoking a "utopian" feeling of social connection and harmony.