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Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2 2015
Repositorium für die Medienwissenschaft Jennifer deWinter; Carly A. Kocurek Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2 2015 https://doi.org/10.25969/mediarep/14996 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: deWinter, Jennifer; Kocurek, Carly A.: Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2. In: Thomas Hensel, Britta Neitzel, Rolf F. Nohr (Hg.): »The cake is a lie!« Polyperspektivische Betrachtungen des Computerspiels am Beispiel von PORTAL. Münster: LIT 2015, S. 31– 48. DOI: https://doi.org/10.25969/mediarep/14996. Erstmalig hier erschienen / Initial publication here: http://nuetzliche-bilder.de/bilder/wp-content/uploads/2020/10/Hensel_Neitzel_Nohr_Portal_Onlienausgabe.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Weitergabe unter Attribution - Non Commercial - Share Alike 3.0/ License. For more gleichen Bedingungen 3.0/ Lizenz zur Verfügung gestellt. Nähere information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by-nc-sa/3.0/ http://creativecommons.org/licenses/by-nc-sa/3.0/ Jennifer deWinter / Carly A. Kocurek Chell Game: Representation, Identification, and Racial Ambiguity in ›Portal‹ and ›Portal 2‹ Chell stands in a corner facing a portal, then takes aim at the adjacent wall with the Aperture Science Handheld Portal Device. Between the two portals, one ringed in blue, one ringed in orange, Chell is revealed, reflected in both. And, so, we, the player, see Chell. She is a young woman with a ponytail, wearing an orange jumpsuit pulled down to her waist and an Aperture Science-branded white tank top. -
Portal: Impact Guide for Players
Portal: Impact Guide For Players Portal and Portal 2 are games developed by Valve Corporation available for consoles and PCs. The games are first-person puzzle solving games but also provide rich narrative development, interesting characters, and have developed a strong cultural impact including merchandise and a popular series of internet memes. The popularity of the Portal series stems from the quality of the games and from the way the games teach players how to play them so seamlessly. Indeed, Portal is one of the very best games at presenting players with embodied learning and scaffolded instruction – a model for 21st century teaching. How to use this guide: Players – We’ve identified several interesting or important themes in the game. As you play through, reflect on your play. How have you experienced these themes? Are there other important ones present in the game? What kind of impact does your play allow in the larger world? Answer the questions we’ve provided – but feel free to add more at www.gamesandimpact.org. Warning: Questions contain some spoilers about the games. Theme: Problem Solving Portal begins with a player alone in a test chamber; solving puzzles is a key mechanic for both the gameplay and for the story of the game. Puzzles gradually get more difficult as players are given tools sequentially in order to build on top of their previous solutions. Game Why do you think the game doesn’t give you the portal gun immediately? What is the point of limiting you in the early part of the game? Why do you think the test chambers are designed the way they are? What do you think the game’s designers are trying to teach you? At the end of the 19 test chambers, you begin the second part of the game where you get to face GLaDOS directly. -
Super Mario Portal Game
1 / 2 Super Mario Portal Game Lessons of Game Design learned from Super Mario Maker ... The portal gun is one of those mechanics that sounds like it has an unlimited .... The game combines the elements of the two popular video games: the platforming Super Mario Bros and the puzzle solving Portal. The game retains the traditional .... It's a mashup of Nintendo's classic Super Mario Bros. platform game with Portal. That's right – Mario now has a portal gun, which he can use to .... New Super Mario Bros. U is a game ... Portal 2, like Minecraft, is a highly popular console game that encourages experimentation and flexibility.. Last August we were promised to be able to play the classic Super Mario Bros. with 1 major difference integrated into the game. Aperature ... mario portal game · super mario bros meets portal game · blue television games portal mario.. Mario Bros Mappack Portal Mappack Mari0 Bros Mappack No WW Mari0 ... If you enjoy this game then also play games Super Mario Bros. and Super Mario 64.. Much like nuts and gum, Portal and Super Mario Bros. are together at last.. Click on this exciting game of the classic Super Mario bros, Portal Mario bros 64. You must help the famous Mario bros to defend himself from all his enemies in .... and Portal hybrid from indie game developer Stabyourself.net. Yup, it's the old Super Mario Bros. with portal guns, user created content, a map .... Mario and Portal, a perfect mix. Super Smash Flash 2. A fun game inspired by Super Smash Bros. -
The Heroic Journey of a Villain
Háskóli Íslands Hugvísindasvið Enska The Heroic Journey of a Villain The Lost and Found Humanity of an Artificial Intelligence Ritgerð til MA-prófs í Ensku Ásta Karen Ólafsdóttir Kt.: 150390-2499 Leiðbeinandi: Guðrún B. Guðsteinsdóttir Maí 2017 Abstract In this essay, we will look at the villain of the Portal franchise, the artificial intelligence GLaDOS, in context with Maureen Murdock’s theory of the “Heroine’s Journey,” from her book The Heroine’s Journey: Woman’s Quest for Wholeness. The essay argues that although GLaDOS is not a heroine in the conventional sense, she is just as important of a figure in the franchise as its protagonist, Chell. GLaDOS acts both as the first game’s narrator and villain, as she runs the Aperture Science Enrichment Center where the games take place. Unlike Chell, GLaDOS is a speaking character with a complex backstory and goes through real character development as the franchise’s story progresses. The essay is divided into four chapters, a short history of women’s part as characters in video games, an introduction to Murdock’s “The Heroine’s Journey,” and its context to John Campbell’s “The Hero’s Journey,” a chapter on the Portal franchises, and then we go through “The Heroine’s Journey,” in regards to GLaDOS, and each step in its own subchapter. Our main focus will be on the second installment in the series, Portal 2. Since, in that game, GLaDOS goes through most of her heroine’s journey. In the first game, Portal, GLaDOS separates from her femininity and embraces the masculine, causing her fractured psyche, and as the player goes through Portal 2 along with her, she reclaims her femininity, finds her inner masculinity, and regains wholeness. -
The Computational Complexity of Portal And
1 The Computational Complexity of Portal and 2 Other 3D Video Games 3 Erik D. Demaine 4 MIT CSAIL, 32 Vassar Street, Cambridge, MA 02139, USA 5 [email protected] 1 6 Joshua Lockhart 7 Department of Computer Science, University College London, London, WC1E 6BT, UK 8 [email protected] 9 Jayson Lynch 10 MIT CSAIL, 32 Vassar Street, Cambridge, MA 02139, USA 11 [email protected] 12 Abstract 13 We classify the computational complexity of the popular video games Portal and Portal 2. We 14 isolate individual mechanics of the game and prove NP-hardness, PSPACE-completeness, or 15 pseudo-polynomiality depending on the specific game mechanics allowed. One of our proofs 16 generalizes to prove NP-hardness of many other video games such as Half-Life 2, Halo, Doom, 17 Elder Scrolls, Fallout, Grand Theft Auto, Left 4 Dead, Mass Effect, Deus Ex, Metal Gear Solid, 18 and Resident Evil. These results build on the established literature on the complexity of video 19 games [1, 3, 7, 18]. 20 2012 ACM Subject Classification Dummy classification 21 Keywords and phrases video games, hardness, motion planning, NP, PSPACE 22 Digital Object Identifier 10.4230/LIPIcs.FUN.2018.19 23 Related Version arXiv:1611.10319 24 1 Introduction 25 In Valve’s critically acclaimed Portal franchise, the player guides Chell (the game’s silent 26 protagonist) through a “test facility” constructed by the mysterious fictional organization 27 Aperture Science. Its unique game mechanic is the Portal Gun, which enables the player 28 to place a pair of portals on certain surfaces within each test chamber. -
The Cake Is a Lie!« Polyperspektivische Betrachtungen
Michelle E. Ouellette/ Marc A. Ouellette Make Lemonade: The Pleasantly Unpleasant Aesthetics of Playing ›Portal‹ This paper takes its title and an important cue from the folksy premise of the axiom, »When life gives you lemons, make lemonade«. The paradoxical posi- tion that something unpleasant can be turned into something pleasant offers not only an entry point for an engagement with the Portal series, but also an opportunity to consider directly the applicability of Friedrich Schiller’s model of three inherent drives to the study of video games. Thus, our paper will sit- uate Schiller’s aesthetic principles within existing game studies scholarship, will examine how these apply to the Portal series’ implementation of rules, play and affirmation, and will consider the ramifications of the commentary which inheres in the process. Most importantly, the three drives – normative, sensuous, and play – map directly onto the rules and the rewards of the games. As well, this pattern appears in the form and in the content of the games so that the ways in which rules, affirmation and their linkage through play produce en- joyment also make the Portal series obvious examples of good art. In the case of affirmation, the fact that these rewards are through negative affirmation makes no difference. GLaDOS and Wheatley’s taunts and barbs, and the jour- ney on which they lead us, engages both the cognitive and affective responses of the players. The pleasure of this game is located in both of these responses; we are driven to think about the game, and the game makes us feel (bad). -
The Computational Complexity of Portal and Other 3D Video Games
The Computational Complexity of Portal and Other 3D Video Games Erik D. Demaine* Joshua Lockharty Jayson Lynch* Abstract We classify the computational complexity of the popular video games Portal and Portal 2. We isolate individual mechanics of the game and prove NP-hardness, PSPACE-completeness, or (pseudo)polynomiality depending on the specific game mechanics allowed. One of our proofs generalizes to prove NP-hardness of many other video games such as Half-Life 2, Halo, Doom, Elder Scrolls, Fallout, Grand Theft Auto, Left 4 Dead, Mass Effect, Deus Ex, Metal Gear Solid, and Resident Evil. These results build on the established literature on the complexity of video games [Vig14, ADGV14, For10,Cor04]. 1 Introduction In Valve’s critically acclaimed Portal franchise, the player guides Chell (the game’s silent protago- nist) through a “test facility” constructed by the mysterious fictional organization Aperture Science. Its unique game mechanic is the Portal Gun, which enables the player to place a pair of portals on certain surfaces within each test chamber. When the player avatar jumps into one of the portals, they are instantly transported to the other. This mechanic, coupled with the fact that in-game items can be thrown through the portals, has allowed the developers to create a series of unique and challenging puzzles for the player to solve as they guide Chell to freedom. Indeed, the Portal series has proved extremely popular, and is estimated to have sold more than 22 million copies [YP, stea, Cao,steb]. We analyze the computational complexity of Portal following the recent surge of interest in complexity analysis of video games and puzzles. -
FIRSTNAME LASTNAME COMPANY Session Title
JEEP BARNETT ADAM FOSTER KYLE DAVIS VALVE PORTAL 2 AND TF2 ALTERNATE REALITY GAMES Q&A Why ARG? • Fictional Grounding • Retrospect • Historical Research • New Content • Call to Action • Rewards Some ARGs • ApertureScience.com • Portal 2 ARG • Potato Sack • Pyromania ARG • Mann vs Machine ARG ApertureScience.com •Flash Website •Hacking Terminal •Questionnaire •“The Cake is a Lie” •Rattman Password •Companion Cube’s Holiday Vault •Cave Johnson Portal 2 ARG •Radio Signal Minigame •SSTV Images •Hashed BBS Number •ASCII Screenshots •Modified Ending Potato Sack •Potato Fools’ Day •Glyphs •Aperture Logins •Concept Art •Seattle Map Locations •New Content for 13 Games •“Nelipot” & Dinosaur •GLaDOS@Home Pyromania ARG •Mystery Items •Goldfish •Banana Peel •Damaged Capacitor •Etc. •Eliminating the Impossible •Banana Crafting •Poopy Joe •Ash Piles Mann vs Machine ARG •Carrier Tanks •Gray Mann in Will •Melted Capacitor Equipping •High Fives •“Walked into a bar,” Joke •PGP Wordlist •Final Recipe •Blood Brothers Alert Some Takeaways • Different Scopes • Callbacks • Verifiable Redundancy • Levels of Participation JEEP & ADAMF & KYLED @valvesoftware.com ASCII CAKE ApertureScience.com RATTMAN PASSWORD ApertureScience.com HOLIDAY VAULT ApertureScience.com ADAM’S BBS Portal 2 ARG SSTV IMAGES Portal 2 ARG GLYPHS Potato Sack RUSH Potato Sack CORE Potato Sack SEATTLE MAP Potato Sack POTATO SACK BUNDLE Potato Sack BOX CONCEPT Potato Sack GAMASUTRA.COM/VIEW/FEATURE/6371/ THE_PORTAL_TWO_ARG_THE_WHOLE_STORY.PHP Potato Sack COURT LEDGER Pyromania ARG HOOPY Hoopy ARG POOPY JOE Pyromania ARG PYROLAND Pyromania ARG MACHINE PHOTOS Mann vs Machine ARG ROBOT HEADS Mann vs Machine ARG MANN WILL Mann vs Machine ARG . -
The Performative Interactivity of Video Games
SHALL WE PLAY A GAME?: THE PERFORMATIVE INTERACTIVITY OF VIDEO GAMES Michael J. Beck Thesis Prepared for the Degree of MASTER OF SCIENCE UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: John M. Allison, Jr., Major Professor and Chair of the Department of Communication Studies Justin T. Trudeau, Committee Member Shaun Treat, Committee Member Holley Vaughn, Committee Member Mark Wardell, Dean of the Toulouse Graduate School Beck, Michael J. Shall We Play a Game? The Performative Interactivity of Video Games. Master of Science (Communication Studies), August 2014, 113 pp., bibliography, 61 titles. This study examines the ways that videogames and live performance are informed by play theory. Utilizing performance studies methodologies, specifically personal narrative and autoperformance, the project explores the embodied ways that gamers know and understand videogames. A staged performance, “Shall We Play a Game?,” was crafted using Brechtian theatre techniques and Conquergood’s three A’s of performance, and served as the basis for the examination. This project seeks to dispel popular misconceptions about videogames and performance and to expand understanding about videogaming as an embodied performative practice and a way of knowing that has practical implications for everyday life. Copyright 2014 by Michael J. Beck ii TABLE OF CONTENTS Page Chapters 1. INTRODUCTION ........................................................................................................ 1 2. LITERATURE REVIEW ............................................................................................. -
Methods of Intimacy in Fantasy Role-Playing Game Communities
CONSTRUCTING ELYSIUM AND PLAYING UGLY: METHODS OF INTIMACY IN FANTASY ROLE-PLAYING GAME COMMUNITIES Genesis Marie Downey A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2015 Committee: Radhika Gajjala, Advisor Lesa L. Lockford Graduate Faculty Representative Kristine Blair Sandra Faulkner © 2015 Genesis Marie Downey All Rights Reserved iii ABSTRACT Radhika Gajjala, Advisor Using Johan Huizinga’s concept of the magic circle as a context for understanding how sacred spaces reserved for play manifest within role-playing game (RPG) environments both digital and table-top, this dissertation argues that while certain elements of the magic circle are still present, the vast amount of work produced to monitor the boundaries of sacred game space stem from the intimate relationships between players. Online RPG environments are open to critique due to the seemingly wide-spread use of hostility as a gate-keeping tactic. Numerous studies and digital media scholars have examined how bullying, harassment, and bodily threats present within toxic digital gaming cultures act as a means of limiting access to participation. Because marginalized players, whether due to gender, race, or sexual identity, are often playing in gaming environments that get coded as toxic, this dissertation chooses to interrogate the ways in which some players negotiate game environments that are complicated at best and overtly hostile at worst. While the dissertation is careful to note the distinctions between online RPGs and offline table-top RPGs, the core argument made stems from the consistencies present between both: both the online and table-top groups who participated in the study use tools of intimacy both actively and passively as a means of fostering individual as well as group identity. -
Female and Evil: the Role Gender Plays for Villains In
2013 University of Utrecht Faculty of the Humanities Author: Terry Guijt Student number: 3622045 Supervisor: Dr. R.H. Leurs Second reader: Dr. J.I.L. Veugen Date: 9-8-2013 [FEMALE AND EVIL: THE ROLE GENDER PLAYS FOR VILLAINS IN ADVENTURE GAMES] Keywords: Philosophy of Evil, Digital Games, Gender, Stereotypes, Feminism __________________________________________________________________________ This research paper examines how female evil is represented in adventure games from 1982 till 2013 and how this representation of female evil can be understood in a cultural philosophical perspective. First, the philosophical growth of the term evil is summarized and the paper describes how media forms, such as art, literature and movies, have represented evil in the past. While these art forms focus on representation through images, sound and text, video games introduce interactivity as a new tool to represent, understand and occasionally even be evil. Observed is that female villains are represented through text, images, sound and extra diegetic material. By examining the female gender role of end bosses in digital games, the portrayal of evil is studied and it is shown that humanlike female end bosses become demonized oral villains as their representation is stereotyped with the use of symbols for evil. Only when the villain is a genderless being the female aspects of the end boss can be said to be of cultural importance. Dear reader, While the King needs to be put checkmate, it is the defeat of the Queen that causes the most relief --- Playing a game of Chess This thesis is written to conclude the master’s degree Media and Performance Studies at the University of Utrecht. -
Gender Games: a Content Analysis of Gender Portrayals in Modern, Narrative Video Games
Georgia State University ScholarWorks @ Georgia State University Sociology Theses Department of Sociology Spring 5-9-2015 Gender Games: A Content Analysis Of Gender Portrayals In Modern, Narrative Video Games Jared Friedberg Follow this and additional works at: https://scholarworks.gsu.edu/sociology_theses Recommended Citation Friedberg, Jared, "Gender Games: A Content Analysis Of Gender Portrayals In Modern, Narrative Video Games." Thesis, Georgia State University, 2015. https://scholarworks.gsu.edu/sociology_theses/52 This Thesis is brought to you for free and open access by the Department of Sociology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Sociology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. GENDER GAMES: A CONTENT ANALYSIS OF GENDER PORTRAYALS IN MODERN, NARRA- TIVE VIDEO GAMES by JARED FRIEDBERG Under the Direction of Dr. Wendy Simonds ABSTRACT Video games are a multi-billion dollar industry; 67% of households in the United States have at least one game player. The considerable reach of this medium makes it crucial to assess the messages that audiences are taking away concerning gender in these games. In this content analysis, I investigate the representation of binary gender in the narratives of modern video games from the perspective of cultiva- tion theory. Ten popular games from 2007 through 2013 are selected for this investigation. The character- istics of each game’s main character are evaluated in the context of the narrative to uncover emergent trends, tropes, and themes over the course of gameplay. Men outnumber women in protagonist roles, and women serve as catalysts for the central conflicts throughout the narrative.