“Hey! Listen!”: Video Game Dialogue, Integrative Complexity and the Perception of Quality
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Exploring the Experiences of Gamers Playing As Multiple First-Person Video Game Protagonists in Halo 3: ODST’S Single-Player Narrative
Exploring the experiences of gamers playing as multiple first-person video game protagonists in Halo 3: ODST’s single-player narrative Richard Alexander Meyers Bachelor of Arts Submitted in fulfilment of the requirement for the degree of Master of Arts (Research) School of Creative Practice Creative Industries Faculty Queensland University of Technology 2018 Keywords First-Person Shooter (FPS), Halo 3: ODST, Interpretive Phenomenological Analysis (IPA), ludus, paidia, phenomenology, video games. i Abstract This thesis explores the experiences of gamers playing as multiple first-person video game protagonists in Halo 3: ODST, with a view to formulating an understanding of player experience for the benefit of video game theorists and industry developers. A significant number of contemporary console-based video games are coming to be characterised by multiple playable characters within a game’s narrative. The experience of playing as more than one video game character in a single narrative has been identified as an under-explored area in the academic literature to date. An empirical research study was conducted to explore the experiences of a small group of gamers playing through Halo 3: ODST’s single-player narrative. Interpretive Phenomenological Analysis (IPA) was used as a methodology particularly suited to exploring a new or unexplored area of research and one which provides a nuanced understanding of a small number of people experiencing a phenomenon such as, in this case, playing a video game. Data were gathered from three participants through experience journals and subsequently through two semi- structured interviews. The findings in relation to participants’ experiences of Halo 3: ODST’s narrative were able to be categorised into three interrelated narrative elements: visual imagery and world-building, sound and music, and character. -
Digital Cultures
88888888888DIGITAL 88888888888CULTURES Understanding New Media 88888888888 Edited88888888888 by Glen Creeber and Royston88888888888 Martin Digital Cultures Digital Cultures Edited by Glen Creeber and Royston Martin Open University Press McGraw-Hill Education McGraw-Hill House Shoppenhangers Road Maidenhead Berkshire England SL6 2QL email: [email protected] world wide web: www.openup.co.uk and Two Penn Plaza, New York, NY 10121—2289, USA First published 2009 Copyright © Creeber and Martin 2009 All rights reserved. Except for the quotation of short passages for the purpose of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher or a licence from the Copyright Licensing Agency Limited. Details of such licences (for reprographic reproduction) may be obtained from the Copyright Licensing Agency Ltd of Saffron House, 6–10 Kirby Street, London, EC1N 8TS. A catalogue record of this book is available from the British Library ISBN-13: 978-0-33-5221974 (pb) 978-0-33-5221981 (hb) ISBN-10: 0335221971 (pb) 033522198X (hb) Typeset by Kerrypress, Luton, Bedfordshire Printed and bound in the UK by Bell & Bain Ltd, Glasgow Fictitious names of companies, products, people, characters and/or data that may be used herein (in case studies or in examples) are not intended to represent any real individual, company, product or event. For Tomas Contents -
Emulating Authentic Dialogue in Roleplaying Video Games
Tips of Fingers, Tips of Tongues: Emulating Authentic Dialogue in Roleplaying Video Games Stephanie Caskenette The Department of Art History and Communication Studies, McGill University, Montréal October 2017 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of a Master’s of Arts (Communication Studies). © Stephanie Caskenette, 2017 1 Table of Contents Abstract ........................................................................................................................................... 3 Acknowledgements ......................................................................................................................... 4 Introduction ..................................................................................................................................... 5 Chapter 1 – Game Feel and Other Methodological Considerations ............................................. 22 Chapter 2 – Dialogue Systems in Roleplaying Games ................................................................. 44 Chapter 3 –Evaluating Contemporary Dialogue Systems ............................................................ 62 Chapter 4 – Designing Around Hardware Limitations ................................................................. 77 Conclusion .................................................................................................................................... 94 Works Cited ................................................................................................................................. -
The Japanese Gaming Cluster
The Japanese Gaming Cluster Tatsuya Hasegawa, Takeru Ito, Ryu Kawano, Koichi Kibata, Ken Nonomura 1 Table of Contents 1. Japan Competitiveness ............................................................................................................................ 3 1.1 Country Background ......................................................................................................................... 3 1.2 The Economic Performance of Japan after WW II ............................................................................ 4 1.3 Macroeconomic and Political Risks .................................................................................................. 5 1.4 Social infrastructure .......................................................................................................................... 7 1.5 Microeconomic competitiveness and national diamond analysis ...................................................... 7 1.5.1 Context for Firm Strategy and Rivalry ....................................................................................... 8 1.5.2 Demand Condition ..................................................................................................................... 8 1.5.3 Supporting and Related Industry ................................................................................................ 8 1.5.4 Factor Condition ........................................................................................................................ 9 1.6 National Cluster mapping and industrial -
Digitale Spielwelten.Pdf
Jessica Rehse | Nathanael Riemer (Hrsg.) „Wir alle treffen Entscheidungen im Leben, aber letztendlich treffen unsere Entscheidungen uns.“ Didaktische Potenziale digitaler Spielwelten Universitätsverlag Potsdam Jessica Rehse | Nathanael Riemer (Hrsg.) „Wir alle treffen Entscheidungen im Leben, aber letztendlich treffen unsere Entscheidungen uns.“ Didaktische Potenziale digitaler Spielwelten Jessica Rehse | Nathanael Riemer (Hrsg.) „Wir alle treffen Entscheidungen im Leben, aber letztendlich treffen unsere Entscheidungen uns.“ Didaktische Potenziale digitaler Spielwelten Universitätsverlag Potsdam Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. Universitätsverlag Potsdam 2020 http://verlag.ub.uni-potsdam.de/ Am Neuen Palais 10, 14469 Potsdam Tel.: +49 (0)331 977 2533 / Fax: -2292 E-Mail: [email protected] Satz: text plus form, Dresden Druck: docupoint GmbH Magdeburg Dieses Werk ist unter einem Creative Commons Lizenzvertrag lizenziert: Namensnennung 4.0 International Um die Bedingungen der Lizenz einzusehen, folgen Sie bitte dem Hyperlink: http://creativecommons.org/licenses/by/4.0/ Umschlagbild: Blind Squirrel Games: BioShock: The Collection, 2K Games (Hrsg.), 2016 Titelzitat: 2K Games: BioShock, Take-Two Interactive (Hrsg.), 2007 ISBN 978-3-86956-489-0 Zugleich online veröffentlicht auf dem Publikationsserver der Universität Potsdam https://doi.org/10.25932/publishup-46846 -
Designing Auteurs: Video Games, Authorship, and Moma
Jedd Hakimi—Designing Auteurs/1 Designing Auteurs: Video Games, Authorship, and MoMA Abstract This article uses The Museum of Modern Art’s 2012 foray into video game collection as an occasion to consider several key issues related to video game authorship and critical comprehension. In the first section, I demonstrate how MoMA’s equivocal curatorial decisions for their video game collection in terms classification, preservation, and display, reflect broader critical ambivalence regarding how, or if, video games should be critically apprehended as individuals’ artistic expressions akin to auteurist works in cinema. In the second section, I suggest comparing authorship in video games to authorship in film by partitioning MoMA’s game collection into five descriptive categories. Each of these categories – Indie, Art, Mainstream Studio, Commercial Auteur, and Auteurist Studio – has a rough equivalent in filmic contexts, and this helps illustrate how video games are already apprehended within distinct critical frameworks depending on how they are produced, marketed, distributed, and received. In the last section, I take a closer look at one particular game in MoMA’s collection, Valve’s Portal (2008), to address whether video games’ intrinsic variable and responsive forms prevent comparisons to film in terms of authorship. Ultimately, though, relating video games to film, demonstrates the importance of avoiding medium-specific generalizations regarding how to critically apprehend video games. Critical Interventions Four decades after the Lumière brothers’ first public moving-picture exhibitions in 1895, the Museum of Modern Art established its massively influential “Film Library” and began acquiring films. In 2012, four decades after the earliest video game home console, the Magnavox Odyssey, was released to the public, MoMA made the curatorial decision to begin acquiring video games into their permanent collection. -
Gaming in a Social World: Examining the Relationship Between Social Competence and Online Video Game Involvement Rachel Valeria Kowert
Gaming in a Social World: Examining the Relationship between Social Competence and Online Video Game Involvement Rachel Valeria Kowert PhD The University of York Psychology May 2013 Abstract The proliferation of affordable and accessible Internet connectivity has changed the way video games are played by allowing individuals to connect worldwide in shared gaming spaces. These highly social environments allow players to connect, interact with, and learn from each other. However, there is a growing concern that these social environments also have the potential to displace real-world connections and interactions, contributing to a variety of losses in ‘offline’ sociability (Chiu, Lee, & Huang, 2004; Cole & Griffiths, 2007; Kim, Namkoong, Ku, & Kim, 2008; Peters & Malesky, 2008; Shen & Williams, 2010). While the association between online video game play and social incompetence remains widespread, so much so that it has evolved into a core component of the cultural perceptions of those who participate within online games (Kowert, Griffiths, & Oldmeadow, 2012; Kowert & Oldmeadow, 2012), empirical evidence illustrating this relationship has been conflicting and the potential mechanisms underlying these associations remain unclear. The work contained within this thesis aims to clarify the veracity of previously drawn conclusions, and evaluate social differences amongst adult video game players to uncover if, and how, online video game involvement supports, or undermines, the development and maintenance of traditional social skills. To this end, three, large-scale survey studies were conducted. While the results indicated that more involved online players display some variation in social outcomes as compared to other game playing groups, a general lack of unique or magnified relationships between Involvement and social outcomes within online players largely discredits the contention that increased online video game involvement inevitably coincides with severe social consequences. -
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento De Comunicación Audiovisual Y Publicidad II
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad II TESIS DOCTORAL Percepción del cambio representativo-icónico y apreciación tecnológica del "game-art" en estudiantes de videojuego de la Comunidad de Madrid (2013-2015): jugabilidad, estética e inmersión MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Francisco Javier Gayo Santacecilia Director Francisco García García Madrid, 2017 © Francisco Javier Gayo Santacecilia, 2016 FACULTAD DE CIENCIAS DE LA INFORMACIÓN DEPARTAMENTO DE CAVP II DOCTORADO EN TÉCNICAS Y PROCESOS DE CREACIÓN DE IMÁGENES: APLICACIONES SOCIALES Y ESTÉTICAS PERCEPCIÓN DEL CAMBIO REPRESENTATIVO-ICÓNICO Y APRECIACIÓN TECNOLÓGICA DEL "GAME-ART" EN ESTUDIANTES DE VIDEOJUEGO DE LA COMUNIDAD DE MADRID (2013-2015) : JUGABILIDAD, ESTÉTICA E INMERSIÓN TESIS DOCTORAL PRESENTADA POR: D. Francisco Javier Gayo Santacecilia DIRECTOR: D. Francisco García García MADRID, 2015 Todas las imágenes y textos con copyright referenciados en el presente trabajo, han sido utilizados bajo el derecho de cita, regulado en el artículo 32 del Texto refundido que recoge la Ley de la Propiedad Intelectual (TRLPI) según se recoge en el Decreto Legislativo 1/1996, de 12 de abril. 2 Título : PERCEPCIÓN DEL CAMBIO REPRESENTATIVO-ICÓNICO Y APRECIACIÓN TECNOLÓGICA DEL "GAME-ART" EN ESTUDIANTES DE VIDEOJUEGO DE LA COMUNIDAD DE MADRID (2013-2015) : JUGABILIDAD, ESTÉTICA E INMERSIÓN Palabras clave : Videojuegos, Resolución, Obsolescencia, Percepción, Inmersión, Iconicidad, Pixel-Art/Cartoon, Jugabilidad. Keywords : Videogames, Resolution, Obsolescence, Perception, Immersion, Iconicity, Pixel-Art/Cartoon, Playability. Resumen La presente tesis trata acerca de la construcción y apreciación representativa e icónica del "Game-Art" y su cambio en tiempo de juego. Para ello realizaremos una aproximación a la construcción de la imagen electrónica establecida en la Teoría de la Imagen, para descubrir y plantear los nexos con la imagen de los videojuegos, junto a las características propias que estos presentan. -
Estudio Analítico Comparado De Las Cinemáticas De Los Video Juegos 3D”
UNIVERSIDAD POLITECNICA DE VALENCIA ESCUELA POLITECNICA SUPERIOR DE GANDIA MÁSTER EN POSTPRODUC CIÓN DIGITAL “Estudio analítico comparado de las Cinemáticas de los video juegos 3D” TRABAJO FINAL DE MASTER Autor: MILTON SANCAN LAPO Director: Fco. Javier Pastor Castillo Gandia, enero de 2015 RESUMEN El objetivo de este trabajo es la realización de un análisis comparativo de los trailers de 2 franquicias de video juego 3A, con varios años en el mercado. Obteniendo conclusiones dentro del área de cinematografía, narración, montaje, sonido y técnicas que se han utilizado a través de los años. Determinando cuál ha sido su evolución. Posteriormente, compararemos una pieza de cada franquicia para poder conocer cuáles son sus estrategias de persuasión y la relación que tienen con su gameplay. Palabras clave: Trailer, video juegos, Halo vs Crysis, cinematografía en los videojuegos. ii ABSTRACT The aim of this study is to conduct a comparative analysis of the trailers 2 video game franchises 3A, with several years in the market. Drawing conclusions within the area of filmmaking, storytelling, editing, sound and techniques that have been used through the years, determining what has been its evolution. Then, we compare one piece of each franchise to know what are their persuasion strategies and the relationship they have with their gameplay are. Key words: Trailers, video game, Halo vs Crysis, cinematography in the video game. iii Contents CAPÍTULO 1. .......................................................................................................................................... -
“Hey! Listen!”: Video Game Dialogue, Integrative Complexity and the Perception of Quality
Press Start “Hey! Listen!” “Hey! Listen!”: Video Game Dialogue, Integrative Complexity and the Perception of Quality Hayley McCullough Rensselaer Polytechnic Institute Abstract As a research variable, integrative complexity has a long, well- documented history as a predictor and correlate for real-world phenomenon (for example, Conway, Suedfeld, & Tetlock, 2001 for a discussion on integrative complexity and war). Recently, McCullough & Conway (2017a) displayed the variable’s viability in the understanding of pop cultural domains. The present study builds upon this previous research and explores potential complexity differences between winning and losing video games at the Spike Video Game Awards. It compared the integrative complexity of a sample of video game dialogue for three categories (Best Shooter, Best RPG and Best Action/Adventure). Originally, individual ANOVAs revealed significant main effects for only the integrative and dialectical complexity for the Best Shooter category. An ad-hoc ANOVA of all three categories revealed similar results; however, across all analyses a consistent mean pattern emerged: The winning games averaged lower complexity scores than the losing games. These findings suggest a general association between simplistic dialogue and high-quality video games, providing keen insight into the underlying psychology of video games, and establishes a strong foundation for future research. Keywords integrative complexity; video games; Spike Video Game Awards Press Start 2019 | Volume 5 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. -
The Invisible Industry Vs. the Game Wonder
The Invisible Industry vs. The Game Wonder A comparative study of the Norwegian and Swedish media coverage of the international and national video game industries Anders Wiig Letnes Master´s Thesis in Media Studies Department of Media and Communication University of Oslo June 15, 2020 I II The Invisible Industry vs. The Game Wonder A comparative study of the Norwegian and Swedish media coverage of the international and national video game industries Anders Wiig Letnes Master´s Thesis in Media Studies Department of Media and Communication University of Oslo June 15, 2020 III Copyright Anders Wiig Letnes 2020 The Invisible Industry vs. The Game Wonder: A comparative study of the Norwegian and Swedish media coverage of the international and national video game industries Anders Wiig Letnes http://www.duo.uio.no IV Abstract This thesis studies the differences in the Norwegian and Swedish media coverage of the international and national video game industries, and the possible consequences of said differences. It does so by using a theoretical framework mainly consisting of discourse theory, agenda-setting theory and framing, and by using the methods of content analysis and critical discourse analysis (CDA). There were two key findings. First, the Norwegian video game industry is invisible, but “the Swedish game wonder”, which the Swedish industry is called, is not. This could make the Norwegian industry less important for the public, politicians and investors. Second, the Norwegian media tries to bust myths about the industry, games and players, while the Swedish media keeps the myth of the game wonder alive. This difference in coverage was influenced by the financial crisis, which changed the Norwegian coverage entirely, but did not alter the Swedish coverage as much.