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DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES a Dissertation Submitted in Partial Satisfaction of the Requirements for the Degree Of
UNIVERSITY OF CALIFORNIA SANTA CRUZ CHANGEFUL TALES: DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Aaron A. Reed June 2017 The Dissertation of Aaron A. Reed is approved: Noah Wardrip-Fruin, Chair Michael Mateas Michael Chemers Dean Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright c by Aaron A. Reed 2017 Table of Contents List of Figures viii List of Tables xii Abstract xiii Acknowledgments xv Introduction 1 1 Framework 15 1.1 Vocabulary . 15 1.1.1 Foundational terms . 15 1.1.2 Storygames . 18 1.1.2.1 Adventure as prototypical storygame . 19 1.1.2.2 What Isn't a Storygame? . 21 1.1.3 Expressive Input . 24 1.1.4 Why Fiction? . 27 1.2 A Framework for Storygame Discussion . 30 1.2.1 The Slipperiness of Genre . 30 1.2.2 Inputs, Events, and Actions . 31 1.2.3 Mechanics and Dynamics . 32 1.2.4 Operational Logics . 33 1.2.5 Narrative Mechanics . 34 1.2.6 Narrative Logics . 36 1.2.7 The Choice Graph: A Standard Narrative Logic . 38 2 The Adventure Game: An Existing Storygame Mode 44 2.1 Definition . 46 2.2 Eureka Stories . 56 2.3 The Adventure Triangle and its Flaws . 60 2.3.1 Instability . 65 iii 2.4 Blue Lacuna ................................. 66 2.5 Three Design Solutions . 69 2.5.1 The Witness ............................. 70 2.5.2 Firewatch ............................... 78 2.5.3 Her Story ............................... 86 2.6 A Technological Fix? . -
COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen
COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen Citation Bogost, Ian. Unit Operations: An Approach to Videogame Criticism. Cambridge, MA: MIT, 2006. Keywords: Mythical and scientific modes of thought (bricoleur vs. engineer), bricolage, cyber texts, ergodic literature, Unit operations. Games: Zork I. Argument & Perspective Ian Bogost’s “unit operations” that he mentions in the title is a method of analyzing and explaining not only video games, but work of any medium where works should be seen “as a configurative system, an arrangement of discrete, interlocking units of expressive meaning.” (Bogost x) Similarly, in this chapter, he more specifically argues that as opposed to seeing video games as hard pieces of technology to be poked and prodded within criticism, they should be seen in a more abstract manner. He states that “instead of focusing on how games work, I suggest that we turn to what they do— how they inform, change, or otherwise participate in human activity…” (Bogost 53) This comparative video game criticism is not about invalidating more concrete observances of video games, such as how they work, but weaving them into a more intuitive discussion that explores the true nature of video games. II. Ideas Unit Operations: Like I mentioned in the first section, this is a different way of approaching mediums such as poetry, literature, or videogames where works are a system of many parts rather than an overarching, singular, structured piece. Engineer vs. Bricoleur metaphor: Bogost uses this metaphor to compare the fundamentalist view of video game critique to his proposed view, saying that the “bricoleur is a skillful handy-man, a jack-of-all-trades who uses convenient implements and ad hoc strategies to achieve his ends.” Whereas the engineer is a “scientific thinker who strives to construct holistic, totalizing systems from the top down…” (Bogost 49) One being more abstract and the other set and defined. -
Analyzing Space Dimensions in Video Games
SBC { Proceedings of SBGames 2019 | ISSN: 2179-2259 Art & Design Track { Full Papers Analyzing Space Dimensions in Video Games Leandro Ouriques Geraldo Xexéo Eduardo Mangeli Programa de Engenharia de Sistemas e Programa de Engenharia de Sistemas e Programa de Engenharia de Sistemas e Computação, COPPE/UFRJ Computação, COPPE/UFRJ Computação, COPPE/UFRJ Center for Naval Systems Analyses Departamento de Ciência da Rio de Janeiro, Brazil (CASNAV), Brazilian Nay Computação, IM/UFRJ E-mail: [email protected] Rio de Janeiro, Brazil Rio de Janeiro, Brazil E-mail: [email protected] E-mail: [email protected] Abstract—The objective of this work is to analyze the role of types of game space without any visualization other than space in video games, in order to understand how game textual. However, in 2018, Matsuoka et al. presented a space affects the player in achieving game goals. Game paper on SBGames that analyzes the meaning of the game spaces have evolved from a single two-dimensional screen to space for the player, explaining how space commonly has huge, detailed and complex three-dimensional environments. significance in video games, being bound to the fictional Those changes transformed the player’s experience and have world and, consequently, to its rules and narrative [5]. This encouraged the exploration and manipulation of the space. led us to search for a better understanding of what is game Our studies review the functions that space plays, describe space. the possibilities that it offers to the player and explore its characteristics. We also analyze location-based games where This paper is divided in seven parts. -
Erica Ossola 8-701 5-17 Funabashi, 156-0055 Tokyo Phone: +81-80-2020-7443 E-Mail: [email protected]
Erica Ossola 8-701 5-17 Funabashi, 156-0055 Tokyo Phone: +81-80-2020-7443 E-Mail: [email protected] PERSONAL INFO Birth: Varese, November 19, 1974 Nationality: Italian Mobile: +81-(0)80-2020-7443 E-Mail: [email protected] Web: www.ericaossola.com Networks: www.linkedin.com/in/ericaossola OBJECTIVES Growing as videogames localization specialist, able to deliver high quality content for the Italian market. Open to new work challenges in the entertainment industry. EXPERIENCE Grasshopper Manufacture, Inc. - Tokyo (Japan) 2009-2010 Localization, QA Management and linguistic testing of the following project: November 2009 — January 2010 No More Heroes 2 (Wii) Square Enix Co., Ltd. - Tokyo (Japan) 2008-2011 Localization and QA Management of the following projects: December 2007 — September 2008 The Last Remnant (Xbox 360) December 2008 — July 2009 Dissidia: Final fantasy (PSP) August 2010 — January 2011 Dissidia 012: Final fantasy (PSP) Babel Media - Hove (UK) 2006-2011 Localization and QA Management of the following projects: GodHand - Ace Combat Six - Guilty Gear - Made Man - Medieval 2 Total War - Dave Mirra Wii - Monster Madness - RailRoad - Rainy Woods - Tamagotchi Angel - Thrillville - Toon Doku - Looney Tunes: ACME Arsenal - XMen - Cake Mania Ubisoft Entertainment - Montreal (Canada) 2005 Localization and QA Management of: Principe of Persia (PSP and DS versions). Nintendo of Europe GmbH - Frankfurt (Germany) 2004 Localization of Animal Crossing, (GameCube) in the internal localization studios of Nintendo. Blue Label, Milan (Italy) -
Myst 3 Exile Mac Download
Myst 3 exile mac download CLICK TO DOWNLOAD Myst III: Exile Patch for Mac Free UbiSoft Entertainment Mac/OS Classic Version Full Specs The product has been discontinued by the publisher, and renuzap.podarokideal.ru offers this page for Subcategory: Sudoku, Crossword & Puzzle Games. The latest version of Myst III is on Mac Informer. It is a perfect match for the General category. The app is developed by Myst III renuzap.podarokideal.ruin. Myst III: Exile X for Mac Free Download. MB Mac OS X About Myst III: Exile X for Mac. The all NEW sequel to Myst and Riven new technology, new story and a new arch enemy. It's the perfect place to plan revenge. The success of Myst continues with 5 entirely new ages to explore and a dramatic new storyline, which features a pivotal new character. This version is the first release on CNET /5. Myst III (3): Exile (Mac abandonware from ) Myst III (3): Exile. Author: Presto Studios. Publisher: UbiSoft. Type: Games. Category: Adventure. Shared by: MR. On: Updated by: that-ben. On: Rating: out of 10 (0 vote) Rate it: WatchList. ; 3; 0 (There's no video for Myst III (3): Exile yet. Please contribute to MR and add a video now!) What is . myst exile free download - Myst III: Exile X, Myst III: Exile Patch, Myst IV Revelation Patch, and many more programs. 01/07/ · Myst III Exile DVD Edition - Windows-Mac (Eng) Item Preview Myst III Exile DVD Edition - renuzap.podarokideal.ru DOWNLOAD OPTIONS download 1 file. ITEM TILE download. download 1 file. -
An Interactive Non-Linear Adventure
Rochester Institute of Technology RIT Scholar Works Theses 12-6-1994 Live it! - An Interactive non-linear adventure Gedeon Maheux Talos Tsui Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Maheux, Gedeon and Tsui, Talos, "Live it! - An Interactive non-linear adventure" (1994). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Rochester Institute of Technology A Thesis Submitted to the Faculty of The College of Imaging Arts and Sciences in Candidacy for the Degree of Master of Fine Arts Live It! - An Interactive Non-Linear Adventure by Gedeon Maheux & Talos, Shu-Ming, Tsui December 6, 1994 Committee Sipnatures Thesis Approval ,James VerHague Date: /.2. ~ ~ ~ 't 'f chief adviser Deborah Beardslee Date: :1 &amkv'lf associate adviser (2. - Robert Keough Date: ('-1L( associate adviser Nancy Ciolek Date: / 2 - b -9if associate adviser David Abbott Date: /2- -1- >if associate adviser Mary ANn Begland Date: /2. - 7· 91 Department Chairperson Gedeon Maheux Date: _ MFA Candidate Talos, Shu-Ming, Tsui Date: _ MFA Candidate We. & hereby grant permission to the Wallace Memorial Library of RIT to reproduce our thesis in whole or in part. Any reproduction will not be for commercial use or profit. Acknowledgements We would like to thank our parents for their support, -
This Is the Title
1 Welcome! If you’re here to learn about some art tools, you’ve come to the right place. While this talk does assume at least a basic understanding of the Unreal Engine, it’s really about the concepts behind these tools, not the exact implementation - So hopefully even non-Unreal users will be able to find some of this stuff helpful. First I’m going to do some quick introductions... 2 Hi. I’m Eric Anderson. I’m the Art Director at Cyan. 3 We are a small game development studio up in Spokane, Washington, and one of the oldest surviving independent studios in the industry. I’ve been with the company on and off for over 15 years. 4 Cyan is best known for the game Myst, which was released in 1993. In Myst, players find themselves trapped on an uninhabited - but visually lush island... ...surrounded by challenging puzzles - and are given little to no instruction on what to do - or where to go next. It was a hit. Myst quickly became the best selling computer game of the 20th century. 5 It was followed up a few years later by Riven. While Riven didn’t quite sell as well as Myst, it was acclaimed for its visual artistry - its rich story - and its immersive world. 6 I joined the company in 2000 to work on Uru… …Our ill-fated foray into Massively Multiplayer Online Games… …which was released in 2003 as a single player game, due to publisher cutbacks. 7 Followed shortly by Myst 5… …which was mostly built from the bones of Uru’s online content… …and sold about as well as one might expect. -
Conference Booklet
30th Oct - 1st Nov CONFERENCE BOOKLET 1 2 3 INTRO REBOOT DEVELOP RED | 2019 y Always Outnumbered, Never Outgunned Warmest welcome to first ever Reboot Develop it! And we are here to stay. Our ambition through Red conference. Welcome to breathtaking Banff the next few years is to turn Reboot Develop National Park and welcome to iconic Fairmont Red not just in one the best and biggest annual Banff Springs. It all feels a bit like history repeating games industry and game developers conferences to me. When we were starting our European older in Canada and North America, but in the world! sister, Reboot Develop Blue conference, everybody We are committed to stay at this beautiful venue was full of doubts on why somebody would ever and in this incredible nature and astonishing choose a beautiful yet a bit remote place to host surroundings for the next few forthcoming years one of the biggest worldwide gatherings of the and make it THE annual key gathering spot of the international games industry. In the end, it turned international games industry. We will need all of into one of the biggest and highest-rated games your help and support on the way! industry conferences in the world. And here we are yet again at the beginning, in one of the most Thank you from the bottom of the heart for all beautiful and serene places on Earth, at one of the the support shown so far, and even more for the most unique and luxurious venues as well, and in forthcoming one! the company of some of the greatest minds that the games industry has to offer! _Damir Durovic -
John Fu March 1, 2000 History 274B Prof
Marmalade, Jute, and Video Games: The story of how Dundee, Scotland became the home of a thriving video game development community John Fu March 1, 2000 History 274B Prof. Thomas Hughes 2 Video Games…In Scotland? Japan and the United States are sometimes thought to be the sole creators of the world’s video games. This belief may stem from the fact that the most famous video game console and arcade game manufacturers (such as Atari, Midway, Namco, Nintendo, Sega, Sony, and Capcom) are located in Japan and the US. And with few exceptions, the best-known, most heavily merchandized video game characters (for example, Mario of Super Mario Bros. and Sonic the Hedgehog of the game of the same name) are of American or Japanese origin. Over the past decade, however, many best-selling video games have come from Great Britain. English and Scottish developers have been responsible for such hits as Populous, Syndicate, Lemmings, Goldeneye, and Tomb Raider. Lara Croft, the main character in the Tomb Raider series of adventure games, has become a worldwide star, and Tomb Raider is currently set to be made into a motion picture. Nonetheless, with few characters as recognizable as Mario or Sonic and the absence of a major game console manufacturer, it is remarkable that game development has flourished in specific communities within Great Britain, namely Guildford (near London), northwest England (Liverpool/Birkenhead) and Scotland. Guildford is the home of Bullfrog, a development studio that has created numerous hit games such as Syndicate and Dungeon Keeper, and of a number of companies founded by ex-Bullfrog employees. -
19. CD-ROM Games
Forthcoming in WOLF, Mark J.P. (ed.). Video Game History: From Bouncing Blocks to a Global Industry, Greenwood Press, Westport, Conn. 19. CD-ROM Games Carl Therrien While it became a standard relatively recently, disc-based storage goes a long way back in the history of video game distribution. The term encompasses a wide range of technologies, from magnetic floppy discs, analog laserdiscs, to a variety of digital optical media. Of the latter, the CD-ROM enjoyed the strongest following and the longest lifespan; as of 2006, a significant number of PC games are still burned on CDs. When it became the most common video game distribution format in the mid nineteen-nineties, the compact disc was already a standard in the music industry. In contrast to the magnetic tapes used for the distribution of albums and movies, optical discs allowed relatively fast, random, non-linear access to the content. But these features were already common in the realm of cartridge-based video game systems; the ROMs in Atari 2600 or Super Nintendo game cartridges were directly connected to the system’s working memory and could be read instantly. The CD drive optical head couldn’t compete; as a matter of fact, optical discs introduced the infamous “loading” screen to the console gamer. Video games benefited first and foremost from the storage capabilities of the CD-ROM. While the CD format shares its core technical principle with the more recent DVD standard (found in the Xbox and PlayStation 2) and other dedicated formats (such as the Dreamcast’s GD-ROM and the Gamecube optical disc), this chapter will focus solely on the integration of CD-ROM technology and its consequences on game design and development. -
Myst Windows Manual 2
INSTRUCTION MANUAL You have just stumbled upon a most intriguing A MESSAGE FROM CYAN book: a book titled Myst®. You have no idea where You are about to be drawn into an amazing alternative it came from, who wrote it, or how old it is. reality. The entire game was designed from the ground up to draw you in with little or no extraneous distractions on Reading through its pages provides you with only the screen to interfere with the feeling of being there. a superbly crafted description of an island world. Myst® is not linear, it’s not flat, it’s not shallow. This is But it’s just a book, isn’t it? the most depth, detail, and reality you’ve ever experienced in a game. As you reach the end of the book, you lay your hand on a page. Myst is real. And like real life, you don’t die every five minutes. In fact, you probably Suddenly your own world dissolves into blackness, replaced with the won’t die at all. There are no dead ends; you may hit a wall, but there is always a way island world the pages described. Now you’re here, wherever here is, with over or around. Pay attention to detail and collect information because those are the pieces of the puzzle that you’ll use to uncover the secrets of Myst. The puzzles you no option but to explore... encounter will be solved with logic and information – information garnered either from Myst or from life itself. The key to Myst is to lose yourself in this fantastic virtu- al exploration, and act and react as if you were really there. -
A Clash Between Game and Narrative
¢¡¤£¦¥¦§¦¨©§ ¦ ¦¦¡¤¥¦ ¦¦ ¥¦§ ¦ ¦ ¨© ¦¡¤¥¦¦¦¦¡¤¨©¥ ¨©¦¡¤¨© ¦¥¦§¦¦¥¦ ¦¦¦ ¦¦¥¦¦¨©§¦ ¦!#" ¦$¦¥¦ %¤©¥¦¦¥¦©¨©¦§ &' ¦¦ () ¦§¦¡¤¨©¡*¦¡¤¥ ,+- ¦¦¨© ./¦ ¦ ¦¦¦¥ ¦ ¦ ./¨©¡¤¥ ¦¦¡¤ ¦¥¦0#1 ¦¨©¥¦¦§¦¨©¡¤ ,2 ¦¥¦ ¦£¦¦¦¥ ¦0#%¤¥¦$3¦¦¦¦46555 Introduction ThisistheEnglishtranslationofmymaster’sthesisoncomputergamesandinteractivefiction. Duringtranslation,Ihavetriedtoreproducemyoriginalthesisratherfaithfully.Thethesiswas completedinFebruary1999,andtodayImaynotcompletelyagreewithallconclusionsorpresup- positionsinthetext,butIthinkitcontinuestopresentaclearstandpointontherelationbetween gamesandnarratives. Version0.92. Copenhagen,April2001. JesperJuul Tableofcontents INTRODUCTION..................................................................................................................................................... 1 THEORYONCOMPUTERGAMES ................................................................................................................................ 2 THEUTOPIAOFINTERACTIVEFICTION...................................................................................................................... 2 THECONFLICTBETWEENGAMEANDNARRATIVE ...................................................................................................... 3 INTERACTIVEFICTIONINPRACTICE........................................................................................................................... 4 THELUREOFTHEGAME..........................................................................................................................................