Pursuit Evasion from Multiple Pursuers Using Speed Fluctuation

Total Page:16

File Type:pdf, Size:1020Kb

Pursuit Evasion from Multiple Pursuers Using Speed Fluctuation Pursuit Evasion from Multiple Pursuers Using Speed Fluctuations A thesis submitted to the Graduate School of University of Cincinnati In partial fulfillment of the requirements for the degree of Master of Science In the School of Electronic and Computing Systems Of the College of Engineering and Applied Science February 2013 by Deepika Prasad B.Tech. in Electronics and Communication Engineering Visveswaraiah Technological University, Belgaum, India Thesis Advisor and Committee Chair: Dr. Raj Bhatnagar 1 Abstract An intelligent path planning algorithm for an evader whose objective is to escape capture for as long as possible was designed and implemented on Khepera III robots. To achieve the chase a pursuer algorithm was designed and implemented on two Khepera III robots. This pursuit evasion problem is an unpredictable and dynamically changing environment in which the difficulties faced by the evader when planning an escape route due to the pursuers are corral and capture conditions. The evader considers both the pursuer’s locations and increases or decreases its speed according to the distance between itself and either of the pursuers. It also comes to a stop or reverses into a previous location when need to avoid capture arises. The successful execution of the evader algorithm is analyzed by comparing the results of this speed fluctuation algorithm with one devoid of change in speed. The implementation of the algorithm over Khepera III robots aimed at representing the successfulness of this technique in practical cases, as the work in this field is still relatively new. ii iii Acknowledgements I would like to take this opportunity to express my gratitude to my thesis advisor, Dr. Raj Bhatnagar, whose guidance, encouragement and patience, inspired me to work on this project. I am extremely grateful to him for his support and co-operation which helped me in successfully completing my Master’s degree. I would also like to thank Dr. Carla Purdy and Dr. Karen Davis for their presence on my thesis committee. I would also like to thank Robert Montjoy for his technical support in the research lab. Most importantly, I would like to thank my family and friends for their love and support. I would like to dedicate this work to them. Deepika Prasad iv Table of Contents Abstract ........................................................................................................................................... ii Acknowledgements ........................................................................................................................ iv List of Algorithms .......................................................................................................................... ix List of Figures ................................................................................................................................. x List of Tables ................................................................................................................................ xii Introduction ..................................................................................................................................... 1 1.1 Introduction ........................................................................................................................... 1 1.2 Motivation ............................................................................................................................. 3 1.3 Our Approach ........................................................................................................................ 4 1.4 Organization of the Thesis .................................................................................................... 7 Literature Review............................................................................................................................ 8 2.1 Introduction ........................................................................................................................... 8 2.2 Real-Time Path Searching Robots ........................................................................................ 9 2.3 Distributed Problem Solving ............................................................................................... 11 2.4 Pursuit Evasion Games........................................................................................................ 12 2.5 Evasion Strategies ............................................................................................................... 13 Implementation and Specification ................................................................................................ 15 v 3.1 Technical Specifications ..................................................................................................... 15 3.1.1 Hardware Specifications ............................................................................................... 15 3.1.2 Software Specifications ................................................................................................ 17 3.2 Environment Constraints ..................................................................................................... 17 Pursuit Evasion ............................................................................................................................. 19 4.1 Introduction ......................................................................................................................... 19 4.2 Terminology ........................................................................................................................ 20 4.3 Pursuer Path Planning ......................................................................................................... 23 4.3.1 Main Method for Path Planning of Pursuer .................................................................. 24 4.3.2 Corralling Module ........................................................................................................ 27 4.3.3 Collision Avoidance ..................................................................................................... 29 4.4 Path Planning for Evader..................................................................................................... 31 4.4.1 Evader Path Planning with Speed Fluctuation ............................................................. 33 4.4.2 Evader’s Path Planning Without Speed Fluctuation..................................................... 43 4.4.3 Evader’s Path Planning Considering Nearest Pursuer .................................................. 44 4.5 Shared Modules ................................................................................................................... 47 4.5.1 Communication Module ............................................................................................... 47 4.5.2 Stop Algorithm Module ................................................................................................ 48 4.6 Flow Chart ........................................................................................................................... 49 4.6.1 Pursuer Flow Chart ....................................................................................................... 49 vi 4.6.2 Evader’s Flow Chart ..................................................................................................... 52 4.7 Summary ............................................................................................................................. 57 Results and Analysis ..................................................................................................................... 58 5.1 Introduction ......................................................................................................................... 58 5.2 Test Cases ............................................................................................................................ 60 5.2.1 Scenario 1 ..................................................................................................................... 60 5.2.2 Scenario 2 ..................................................................................................................... 64 5.2.3 Scenario 3 ..................................................................................................................... 70 Conclusions and Future Work ...................................................................................................... 72 6.1 Conclusion ........................................................................................................................... 72 6.2 Future Work ........................................................................................................................ 73 References ..................................................................................................................................... 75 vii viii List of Algorithms Algorithm 4. 1: Pursuer main algorithm ....................................................................................... 26 Algorithm 4. 2: Algorithm for corralling the evader .................................................................... 28 Algorithm 4. 3: Collision avoidance algorithm ............................................................................ 31 Algorithm 4. 4: Evader’s main algorithm ..................................................................................... 35 Algorithm 4. 5: Update direction for evader algorithm ...............................................................
Recommended publications
  • A Dark New World : Anatomy of Australian Horror Films
    A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream.
    [Show full text]
  • Aliens, Predators and Global Issues: the Evolution of a Narrative Formula
    CULTURA , LENGUAJE Y REPRESENTACIÓN / CULTURE , LANGUAGE AND REPRESENTATION ˙ ISSN 1697-7750 · VOL . VIII \ 2010, pp. 43-55 REVISTA DE ESTUDIOS CULTURALES DE LA UNIVERSITAT JAUME I / CULTURAL STUDIES JOURNAL OF UNIVERSITAT JAUME I Aliens, Predators and Global Issues: The Evolution of a Narrative Formula ZELMA CATALAN SOFIA UNIVERSITY ABSTRACT : The article tackles the genre of science fiction in film by focusing on the Alien and Predator series and their crossover. By resorting to “the fictional worlds” theory (Dolezel, 1998), the relationship between the fictional and the real is examined so as to show how these films refract political issues in various symbolic ways, with special reference to the ideological construct of “global threat”. Keywords: film, science fiction, narrative, allegory, otherness, fictional worlds. RESUMEN : en este artículo se aborda el género de la ciencia ficción en el cine mediante el análisis de las películas de la serie Alien y Predator y su combinación. Utilizando la teoría de “los mundos ficcionales” (Dolezel, 1999), se examina la relación entre los planos ficcional y real para mostrar cómo estas películas reflejan cuestiones políticas de diversas formas simbólicas, con especial referencia a la construccción ideológica de la “amenaza global”. Palabras clave: film, ciencia ficción, narrativa, alegoría, alteridad, mundos fic- cionales In 2004 20th Century Fox released Alien vs. Predator, directed by Paul Anderson and starring Sanaa Latham, Lance Henriksen, Raoul Bova and Ewen Bremmer. The film combined and continued two highly successful film series: those of the 1979 Alien and its three successors Aliens (1986), Alien 3 (1992) and Alien Resurrection (1997), and of the two Predator movies, from 1987 and 1990 respectively.
    [Show full text]
  • Predator 2 Script
    IIPREDATOR 2II The Hunt Continues... Written by Jim Thomas & John Thomas SECOND DRAFT Decernber 15, 1989 'IPREDATOR 2:II The Hunt Continues... SLOW FADE-IN FROM BI,ACK: OPENING TTTLE SEQUENCE RUSHING FORWARD at ground Ievel, mottled shapes racing past camera, slowly resolving into trees whipping past, CAMERA RISING through the trees into an AERfAL VfEW, speeding on, looking down on a jungle canopy. We slow and CRANE UP, cresting the treeline, the startling sight of the LOS ANGELES BASIN, appearing before us. SUBTITLES: LOS ANGELES, ]-995 Title artwork crashes into center screen: PREDATOR 2. On thi-s the TITT,E BLEEDS INTO: PREDATOR VTSTON OF LOS ANGELES Scanning the skyline. Attracted by a strange, distant SOUND, his vision STEPS fN, downward, through the canyons of steel, the distorted WHINE of a SIREN, growing louder as the Predator's vision ZOOMS IN to the streets below, coming to rest on a bizarre scene: a loping YELLOW wave of FLAME, accompanied by distorted SOUNDS of CRACKLING and POPPfNG, blood-red STREAKS of LIGHT darting across the street, holding and fading for a second. EXT. OB.]ECTIVE CAIVIERA . HIGH ANGLE - MIDSTREET DAY The keening WAIL growing louder as we DESCEND through the thick smog and shirnmering ai-r of a blistering heat-wave; i.nto the rnidst of a raging BATTLEFIELD: At the mouth of a blind aIIey, a BOB-TAIL TRUCK Iies BURNING on its side, a late-mode1 CADfLLAC positioned before it, nose-first onto the sidewalk. Behind the truck, TEN MEN, heavily armed with AUTOMATIC RIFLES and SHOTGUNS, lay down a barrage of GUNFIRE, aimed at EIGHT POLICEMEN across the street, pinned down in doorways, stairwell-s and behind cars.
    [Show full text]
  • NCOA Rolls out Redesigned BLC
    Thursday, December 13, 2018 Volume 18, Number 50 Index Commentary ..................A2 Community Events .........A3 News Briefs ....................A3 Community ....................A6 Off Duty ......................... B1 Movies ............................ B3 FREE Published in the interest of the personnel at Fort Leonard Wood, Missouri www.myguidon.com NCOA rolls out redesigned BLC By Dawn Arden Managing editor “The new course design is allowing BLC [email protected] students the ability to enhance their ability The Maneuver Sup- to think — not what to think.” port Center of Excel- lence Noncommissioned Officer Academy’s Basic First Sgt. Michael McCabe Leader Course has un- NCOA Basic Leader Course first sergeant dergone a new design, which is scheduled to be fully implemented with Operations (Army and First Sgt. Michael the start of BLC Class Joint), Program Man- McCabe, MSCoE Basic Photo by Staff Sgt. Joaguin Suero 003-19 in January. agement, Readiness and Leader Course first ser- Soldiers attending the Maneuver Support Center of Excellence Noncommissioned Officer According to the NCO Training Management. geant, said the focus has Academy's Basic Leader Course stand in formation. The Army's redesigned course will be Leadership Center of With the redesign, Sol- shifted to teach Soldiers fully implemented in January. Excellence, changes diers will attend train- to implement a plan, train have been made to al- ing six days a week. The and evaluate the training McCabe said assess- enhance their ability the learner to release,” leviate the “Death by 22-day course consists event. ments in the new course to think — not what to he said. “The chang- PowerPoint” method of of 169 course facilita- “The new course has content are based on think,” he said.
    [Show full text]
  • MGM-AVP-3Rd Pages
    S CHOLASTIC READERS A FREE RESOURCE FOR TEACHERS! ALIEN vs. Predator –– Extra Level 2 This level is suitable for students who have been learning English for at least two years and up to three years. It corresponds with the Common European Framework level A2. Suitable for users of CROWN/TEAM magazine. SYNOPSIS the world in the popular film Predator: These alien Predators A wealthy corporation, Weyland Industries, discovers a mysterious came to Earth specifically to hunt for prey. This successful film pyramid deep under the ice of the Antarctic; and the owner, spawned a sequel, Predator 2, set in Los Angeles. Charles Weyland, assembles a team to explore it. When they After Aliens and Predators met each other for the first time in enter the pyramid for the first time, an ancient alien machinery a Dark Horse Comics book, film company Twentieth Century is activated and an Alien Queen wakes and begins to lay eggs. Fox started developing scripts to bring both series together. Meanwhile three aliens of a different kind – Predators – have British director Paul W. S. Anderson wanted to set the film on come to the pyramid. As the humans try to escape the dangers present-day Earth, thereby setting it long before the action of of the pyramid, they discover the terrible truth: the pyramid was Alien. He wanted to feature a strong woman character in this built by the Predators centuries earlier as a place to breed film, too. Fans of the Alien series will notice that actor Lance Aliens and then hunt them as a test of their warrior status.
    [Show full text]
  • PDF Download Alien Vs. Predator Pdf Free Download
    ALIEN VS. PREDATOR PDF, EPUB, EBOOK Michael Robbins | 74 pages | 17 May 2012 | Penguin Putnam Inc | 9780143120353 | English | New York, United States Alien Vs. Predator PDF Book Predator ". Set immediately after the events of the previous film, the Predalien hybrid aboard the Predator scout ship, having just separated from the mothership shown in the previous film, has grown to full adult size and sets about killing the Predators aboard the ship, causing it to crash in the small town of Gunnison, Colorado. In , Sega released a reboot, Aliens vs. The first featured Paul W. Predator: Requiem , directed by the Brothers Strause , and the development of a third film has been delayed indefinitely. Marines carry a wide arsenal including pulse rifles , flamethrowers, and auto-tracking smartguns. Archived from the original on December 19, Production began in late at Barrandov Studios in Prague, Czech Republic , where most of the filming took place. After the release of Alien 3 , Sigourney Weaver commented on her apparent exit from the franchise, joking that "they'd probably find a way to resurrect Ripley using the DNA in her fingernails". Soon, the team realize that only one species can win. No minimum to No maximum. However, the United States Marine Corps are humanity's last line of defense, and as such they are armed to the teeth with the very latest in high explosive and automatic weaponry. Main article: Alien vs. Chris Hewitt of Empire called it an "early but strong contender for worst movie of ". So there's nothing in this movie that contradicts anything that already exists.
    [Show full text]
  • 1. Adventures of Batman and Robin 2. Aladdin 3. Alex Kidd in the Enchanted Castle 4. Alien 3 5. Alien Storm 6. Altered Beast 7. Arcus Odyssey 8
    1. Adventures of Batman and Robin 2. Aladdin 3. Alex Kidd In The Enchanted Castle 4. Alien 3 5. Alien Storm 6. Altered Beast 7. Arcus Odyssey 8. Ariel - The Little Mermaid 9. Arnold Palmer Tournament Golf 10. Arrow Flash 11. Atomic RoboKid 12. Batman 13. Batman Returns 14. Battleсity 15. Battle Squadron 16. Battletech 17. Battletoads 18. Battletoads and Double Dragon 19. Beauty and the Beast - Roar of the Beast 20. Bimini Run 21. Blades of Vengence 22. Bonanza Bros 23. Bubble And Squeak 24. Cadash 25. Captain America & Avengers 26. Capt’n Havoc 27. Castle of Illusion 28. Castlevania - Bloodlines 29. Championship Pro-Am 30.Cliffhanger 31. Columns 32. Columns III 33. Combat Cars 34. Contra - Hard Corps 35. Crack Down 36. Cyborg Justice 37. Dangerous Seed 38. Dark Castle 39. Desert Demolition 40. Desert Strike - Return to the Gulf 41. Dick Tracy 42. DinoLand 43. Dinosaurs for Hire 44. Doki Doki Penguin Land 45. Doom Troopers - The Mutant Chronicles 46. Double Dragon 47. Double Dragon II 48. Dragon - The Bruce Lee Story 49. Dune - The Battle for Arrakis 50. Dynamite Duke 51. Ecco the Dolphin 52. Elemental Master 53. ESWAT Cyber Police - City Under Siege 54. Fantasia 55. Fantastic Dizzy 56. Fatal Labyrinth 57. Fighting Masters 58. Fire Shark 59. Flashback - The Quest for Identity 60. Flicky 61. The Flintstones 62. Frogger 63. Gain Ground 64. General Chaos 65. Ghostbusters 66. Ghouls ‘N Ghosts 67. Gods 68. Golden Axe 69. Golden Axe 3 70. Granada 71. Greendog 72. Growl (Runark) 73. Gunstar Heroes 74. Hellfire 75. Home Alone 2 76.
    [Show full text]
  • Attention-Based Fault-Tolerant Approach for Multi-Agent Reinforcement Learning Systems
    entropy Article Attention-Based Fault-Tolerant Approach for Multi-Agent Reinforcement Learning Systems Shanzhi Gu 1, Mingyang Geng 1 and Long Lan 2,* 1 College of Computer, National University of Defense Technology, Changsha 410073, China; [email protected] (S.G.); [email protected] (M.G.) 2 High Performance Computing Laboratory, National University of Defense Technology, Changsha 410073, China * Correspondence: [email protected] Abstract: The aim of multi-agent reinforcement learning systems is to provide interacting agents with the ability to collaboratively learn and adapt to the behavior of other agents. Typically, an agent receives its private observations providing a partial view of the true state of the environment. However, in realistic settings, the harsh environment might cause one or more agents to show arbi- trarily faulty or malicious behavior, which may suffice to allow the current coordination mechanisms fail. In this paper, we study a practical scenario of multi-agent reinforcement learning systems considering the security issues in the presence of agents with arbitrarily faulty or malicious behavior. The previous state-of-the-art work that coped with extremely noisy environments was designed on the basis that the noise intensity in the environment was known in advance. However, when the noise intensity changes, the existing method has to adjust the configuration of the model to learn in new environments, which limits the practical applications. To overcome these difficulties, we present an Attention-based Fault-Tolerant (FT-Attn) model, which can select not only correct, but also relevant information for each agent at every time step in noisy environments.
    [Show full text]
  • Fangoria #268 (November 2007)
    The tussling titans bring their monstrous battle to our civilization for the first time. Ripley's no longer around, but there are still strong women on hand to take up arms against the Aliens. ince the 1979 debut of the sci-fi horror classic Alien, 20th Century S Fox has done quite well financially with the franchise; in 1987, the studio released Predator, starring Arnold Schwarzenegger, and launched another successful series. Responding to the rabid fan base's expectations for both properties, Dark Horse Comics published a number of comics titres which speculated on a question many enthusi­ asts were already asking: Who would win if these cinematic juggernauts ever faced off? As a point of fact, the filmmakers themselves threw gaso­ line on that fire by briefly showing an Alien skull trophy hung on a wall at the end of Predator 2. In the ensuing years, there were a number of video, computer and collectible card games which became wildly popular and added extensively to both properties' mythos. In 2004, fans got what they were wishing for with Paul W.S. Anderson'sAlien vs. Predator. The film, while satisfyingthe curiosity of some (and being monetarily successful- the biggest grosser of either series-with a worldwide box office of approximately $171 million), left many buffs feeling cold and unsatisfied. A VP played more like an episode of WWE Raw than the epic confrontation fans craved, lacking the mystery and suspense that was so integral to the success of the initial entries in both series. So it is with no small amount of curiosity as to what per­ spective a new film in the series might take that Fango steps onto the set of Aliens vs.
    [Show full text]
  • Daniel M. Petrocelli (S.B
    Case 2:21-cv-03272-GW-JEM Document 1 Filed 04/15/21 Page 1 of 38 Page ID #:1 1 DANIEL M. PETROCELLI (S.B. #97802) [email protected] 2 MOLLY M. LENS (S.B. #283867) [email protected] 3 O’MELVENY & MYERS LLP 1999 Avenue of the Stars, 7th Floor 4 Los Angeles, California 90067-6035 Telephone: (310) 553-6700 5 Facsimile: (310) 246-6779 6 KENDALL TURNER (S.B. #310269) [email protected] 7 O’MELVENY & MYERS LLP 1625 I Street NW 8 Washington, DC 20006 Telephone: (202) 383-5300 9 Facsimile: (202) 383-5414 10 Attorneys for Twentieth Century Fox Film Corporation d/b/a 20th Century Studios 11 UNITED STATES DISTRICT COURT 12 CENTRAL DISTRICT OF CALIFORNIA 13 14 TWENTIETH CENTURY FOX FILM Case No. 15 CORPORATION d/b/a 20th Century Studios, a Delaware corporation COMPLAINT FOR 16 DECLARATORY RELIEF Plaintiff, 17 DEMAND FOR JURY TRIAL v. 18 JAMES E. THOMAS and JOHN C. 19 THOMAS 20 Defendants. 21 22 23 24 25 26 27 28 COMPLAINT FOR DECLARATORY RELIEF Case 2:21-cv-03272-GW-JEM Document 1 Filed 04/15/21 Page 2 of 38 Page ID #:2 1 Plaintiff Twentieth Century Fox Film Corporation d/b/a 20th Century Studios 2 (“20th Century”), for its complaint against defendants James E. Thomas and John 3 C. Thomas, alleges as follows: 4 NATURE OF THE ACTION 5 1. Generations of viewers have enjoyed Predator films since 20th 6 Century released its first movie over three decades ago. Defendants, authors of a 7 screenplay entitled “Hunters” (the “Hunters Screenplay”) that 20th Century 8 acquired in 1986, seek to abridge 20th Century’s rights through two premature and 9 invalid copyright termination notices.
    [Show full text]
  • 1. Aladdin 2. Alex Kidd in the Enchanted Castle Alien 3 3. Alien Storm 4. Altered Beast 5. Animaniacs 6. Another World 7. Aquaticgames 8
    1. Aladdin 2. Alex Kidd In The Enchanted Castle Alien 3 3. Alien Storm 4. Altered Beast 5. Animaniacs 6. Another World 7. AquaticGames 8. Ariel The Little Mermaid 9. Arnold Palmer Tournament Golf Arrow Flash 10. Assault Suit Leynos 11. Atomic RoboKid 12. Back To The Future Part III 13. Bad Omen 14. Barbie Vacation Adventure Batman 15. Batman Returns 16. Batman Revenge Of The Joker Battle City 17. Battle Squadron 18. Battletech 19. Battletoads 20. Beauty and the Beast - Roar of the Beast Bimini Run 21. Bonanza Bros 22. Boogie Woogie Bowling 23. Bubble And Squeak 24. Burning Force 25. Cadash 26. Caliber Fifty 27. California Games 28. Cannon Fodder 29. Captain America and the Avengers Captain Planet and the Planeteers Castle Of Illusion 30. Castlevania - Bloodlines Championship Pro Am Columns 31. Columns III 32. Combat Cars 33. Combat Aces 34. Crack Down 35. Cross Fire 36. Cyborg Justice 37. Dangerous Seed 38. Dark Castle 39. Decap Attack 40. Demolition Man 41. Desert Strike - Return to the Gulf Desert Demolition 42. Dino Land 43. Disney Collection 44. Double Dragon 45. Double Dragon II 46. Dune - The Battle for Arrakis Dynamite Duke 47. Ecco Junior 48. Ecco the Dolphin 49. Ecco 2 - The Tides Of Time Elemental Master 50. ESWAT - City Under Seige Fantastic Dizzy 51. Final Blow 52. Final Zone 53. Fire Mustang 54. Fire Shark 55. Flashback - The Quest for Identity Flicky 56. Flintstones 57. Frogger 58. Gain Ground 59. General Chaos 60. Ghostbusters 61. Golden Axe III 62. Golden Axe 63. Goofy's Hysterical History Tour Granada 64.
    [Show full text]
  • Introduction
    IN FOCUS: Moving Between Platforms Film, Television, Gaming, and Convergence Introduction edited by JONATHAN GRAY ame studies has long been historically marginalized within me- dia studies. Yet in light of the gaming industry’s huge leaps for- ward in design quality, and, more importantly, the economic and G textual convergences of fi lm and television with gaming, it is in- creasingly imperative that media scholars pay close attention to games. Many fi lms and television programs include a game as part of their text, a growing number of storytellers are thinking and creating across media, and many media corporations are trying their best to expand revenues by wedding gaming with fi lm and television. This In Focus is about this process of convergence. Convergence has inspired considerable excitement both from pro- ducers who see the potential for a revolution in storytelling methods and scope and from audiences seeking to renegotiate their relationship with the media industries. Convergence has also been cause for con- siderable concern for those who see the potential for the media indus- tries to capitalize on it, thwarting competition and rewriting laws and business models to gain yet more control over the audience-consumer. These combined hopes and worries for convergence illustrate one of its key qualities: convergence produces more than just the sum of its parts. Convergence is, to use a gaming metaphor, like that most clichéd move of videogames, the “double jump.” This action often comes when one’s avatar must leap from one moving platform to another. The player must wait until the perfect moment to perform not just a jump, but a “double jump,” wherein the avatar begins a new jump while at the peak of its fi rst jump.
    [Show full text]