Emilybaik GDC Narrative Review 2021
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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. -
Nasa Game Catalog
NASA GAME CATALOG Daniel Laughlin, Ph.D. Digital Medial Learning Fellow NASA Office of Education GESTAR/MSU Last Revised June 2014 0 Executive Summary NASA has been using games for education and communication since at least 1998, yet there has never been a thorough effort to gather information about all the games together, to analyze what kind of games NASA has, what lessons have been learned, or what assets might be shared and reused. As a co- chair for the National Science and Technology Council’s Digital Game Technologies Interagency Working Group, NASA found it unable to answer questions like “how many games have you built?” or “have you created any mobile games?” None of the other twenty-four working group members could answer those questions definitively either. This catalog details the extent of NASA’s game portfolio, so that others developing new games are able to build upon the lessons learned from the past. Enclosed herein are details on fourteen individual games that have been created by or for NASA as well as two collections of hosted Flash games. Each entry has information about the game, including a screen shot, point of contact (if available), and a link to the game’s site. The games are identified by genre, NASA content or contribution, and intended audience or Entertainment Software Review Board (ESRB) rating. This catalog is a living document and will be updated over time as more games are developed or discovered. It is likely that some games have been missed. NASA is the first federal entity attempting to definitively catalog its games. -
GOG-API Documentation Release 0.1
GOG-API Documentation Release 0.1 Gabriel Huber Jun 05, 2018 Contents 1 Contents 3 1.1 Authentication..............................................3 1.2 Account Management..........................................5 1.3 Listing.................................................. 21 1.4 Store................................................... 25 1.5 Reviews.................................................. 27 1.6 GOG Connect.............................................. 29 1.7 Galaxy APIs............................................... 30 1.8 Game ID List............................................... 45 2 Links 83 3 Contributors 85 HTTP Routing Table 87 i ii GOG-API Documentation, Release 0.1 Welcome to the unoffical documentation of the APIs used by the GOG website and Galaxy client. It’s a very young project, so don’t be surprised if something is missing. But now get ready for a wild ride into a world where GET and POST don’t mean anything and consistency is a lucky mistake. Contents 1 GOG-API Documentation, Release 0.1 2 Contents CHAPTER 1 Contents 1.1 Authentication 1.1.1 Introduction All GOG APIs support token authorization, similar to OAuth2. The web domains www.gog.com, embed.gog.com and some of the Galaxy domains support session cookies too. They both have to be obtained using the GOG login page, because a CAPTCHA may be required to complete the login process. 1.1.2 Auth-Flow 1. Use an embedded browser like WebKit, Gecko or CEF to send the user to https://auth.gog.com/auth. An add-on in your desktop browser should work as well. The exact details about the parameters of this request are described below. 2. Once the login process is completed, the user should be redirected to https://www.gog.com/on_login_success with a login “code” appended at the end. -
DEPICTIONS of GENDER in INDIE VIDEO GAMES by Jon Beaubien
SAVE THE PRINCESS: DEPICTIONS OF GENDER IN INDIE VIDEO GAMES by Jon Beaubien, B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in Sociology August 2017 Committee Members: David Dietrich, Chair Patti Giuffre Audrey McKinney COPYRIGHT by Jon Beaubien 2017 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Jon Beaubien, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS I want to first thank my thesis committee: Dr. Dietrich, Dr. Giuffre, and Dr. McKinney. This research would not have been possible without your insight and help along the way. I also must thank Abby, Matt, and my family for all their support. Your encouragement and love was invaluable. iv TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ....................................................................................... iv LIST OF TABLES .................................................................................................... vi LIST OF FIGURES ................................................................................................ -
Emotional and Functional Challenge in Core and Avant-Garde Games
Emotional and Functional Challenge in Core and Avant-garde Games Tom Cole Paul Cairns Marco Gillies Department of Computing, Department of Department of Computing, Goldsmiths, Computer Science, Goldsmiths, University of London University of York University of London London, UK York, UK London, UK [email protected] [email protected] [email protected] ABSTRACT never been greater or so diverse and the appeal of games Digital games are a wide, diverse and fast developing art has broadened to the extent that some popular critics have form, and it is important to analyse games that are pushing the declared the stereotypical ‘core gamer’ identity (the market medium forward to see what design lessons can be learned. segment defined by video game publishers as being histori- However, there are no established criteria to determine which cally the most committed to the hobby and therefore the most games show these more progressive qualities. profitable) as outmoded and defunct [4]. Games are at a point where many (from both academia [21] and journalism [40]) Grounded theory methodology was used to analyse language are calling for them to be taken seriously and come under used in games reviews by critics of both ‘core gamer’ ti- greater aesthetic scrutiny. However, despite the significant tles and those titles with more avant-garde properties. This skill and craft involved in creating games, a number of com- showed there were two kinds of challenge being discussed mentators have also concluded that not all games show artistic — emotional and functional which appear to be, at least merit [38][3] on the basis that many are developed and mar- partially, mutually exclusive. -
A Study of Music, Embodiment, and Meaning in the World of Portal Helen A
Lawrence University Lux Lawrence University Honors Projects 5-30-2013 A Study of Music, Embodiment, and Meaning in the World of Portal Helen A. Rowe Lawrence University, [email protected] Follow this and additional works at: https://lux.lawrence.edu/luhp Part of the Film and Media Studies Commons, Musicology Commons, and the Music Performance Commons © Copyright is owned by the author of this document. Recommended Citation Rowe, Helen A., "A Study of Music, Embodiment, and Meaning in the World of Portal" (2013). Lawrence University Honors Projects. 47. https://lux.lawrence.edu/luhp/47 This Honors Project is brought to you for free and open access by Lux. It has been accepted for inclusion in Lawrence University Honors Projects by an authorized administrator of Lux. For more information, please contact [email protected]. Lawrence University A Study of Music, Embodiment, and Meaning in the World of Portal by Helen Rowe Appleton, Wisconsin April 2013 2 Introduction The field of video game studies has been rapidly expanding since its birth. The first recognized video game was created in 1962, 1 and the few that followed it in the 1960s and early 70s were still extremely primitive, as was the technology they used. The limited storage space on the game cartridges meant that the first video games had little sound and no music. 2 The 1980s saw a surge in the popularity of video games, and a corresponding uptick in writing about video games. Before the 1980s, all books on video games were either instructions or strategy guides; in 1983, the first history of video games was published, which, although groundbreaking at the time, was a very short book meant for children. -
Exploration of Narrative Structure in Games for Story Creation
Exploration of Narrative Structure in Games for Story Creation by Bethany Dunfield A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Masters of Information Technology in Digital Media Carleton University Ottawa, Ontario © 2017 Bethany Dunfield Abstract While video games have become a popular medium for storytelling, as a more subjective form of game content, evaluation of written or generated narratives remains difficult. We propose a model for game narrative (the combination of story and its discourse) that can be used to both help write game stories, and evaluate existing ones. This model is based on scholarly models of narrative, alongside narrative structuralism, which can give information about each narrative event and its’ position within the overall sequence of events making up the story. We also show from the literature that strong stories feature an external goal or quest which can only be achieved by a character resolving their own internal struggles. To create our model, we performed a study of existing video game stories, using the aggregate critical score as our metric for quality. Stories were broken down into their component events, and data was logged about each event’s importance, whether it sourced internally from a character or externally, and whether the event corresponded to a component of narrative macrostructures such as “The Hero’s Journey”. Results from our analysis show a strong relationship between the ratio of internal “character-driven” events versus external “plot-driven” events and a story’s quality. We were also able to make recommendations about overall story event structure, such as limiting strings of external, or “plot-driven”, events. -
Case Studies Analysing the Emotion of Sadness in Video Games Ryan
Can a Video Game Make You Cry? Case Studies Analysing the Emotion of Sadness in Video Games Ryan Patrick Yates A research Paper submitted to the University of Dublin, in partial fulfilment of the requirements for the degree of Master of Science Interactive Digital Media 2014 Declaration I declare that the work described in this research Paper is, except where otherwise stated, entirely my own work and has not been submitted as an exercise for a degree at this or any other university. Signed: ___________________ Ryan Patrick Yates 28th February 2014 Permission to lend and/or copy I agree that Trinity College Library may lend or copy this research Paper upon request. Signed: ___________________ Ryan Patrick Yates 28th February 2014 Acknowledgements I would like to thank my mother for her support with this research paper and keeping my head up. I would also like to thank my supervisor, Marguerite Barry, for her guidance, correcting numerous mistakes and lots of coffee. Abstract This research paper uses five case studies of recent video games to analyse the emotion of sadness as depicted in the narrative and design. The study uses a theoretical framework based on film theory to analyse three elements of the case studies: story, game design and gameplay mechanics. It demonstrates how the depiction of death and loss is the main element used to elicit sadness in video games. The analysis suggests that graphics are not crucial to the experience of sadness for the player. It also demonstrates the apparent lack of a requirement for interactivity during an event when the emotion of sadness is present. -
Portal Free Download Game Pc 2018 Portal 2
portal free download game pc 2018 Portal 2. The first Portal game stirred up mass hysteria, so it should come as no surprise how Portal 2 had a wild fan following whoheld their breath to solve some mind-bending physics puzzles. In the original title, we played in a clinical and pristine science laboratory, but Portal 2 brings us to a different setting. Instead, the laboratory fell into disrepair because the story takes place hundreds of years into the future. Chell, the heroine, awakens in the old research facility to find it dilapidated and in disrepair. Suddenly, a robot personality sphere talks with Chell to assist her. They wake up GLaDOS, an old archnemisis, who is downright furious to see Chell. As a result, Chell must pass through a series of life-or-death tests. Whether you play from the PC or the Mac, the game looks fantastic, and you have rich and in-depth environments. Portal 2's puzzles stimulate the mind, and you have a number of tools and traps. Nevertheless, Portal 2 expanded the story, and they increased the length. This makes it unlikely Portal 2 will give you the same iconic twists and turns, but the single player campaign ensures you have a fantastic run. Even after you finish, you can also play through two player cooperative tests where you will play as two animated robots. Portal 2 showcases menacing humor, mind-bending puzzles and non-stop action. The first Portal threw in lots of twists and turns to keep the element of surprise. The first game was short but succinct in what it played, which is what made it so popular. -
The Moon Experience: Designing Participatory Immersive Environments for Experiential Learning
The Moon Experience: Designing Participatory Immersive Environments for Experiential Learning THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Cheng Zhang Graduate Program in Design The Ohio State University 2013 Master's Examination Committee: Professor Maria Palazzi Professor Rick Parent Professor Alan Price (Advisor) Copyright by Cheng Zhang 2013 Abstract The Moon Experience is an interactive and immersive virtual reality system based on the historic events of the Apollo Program (1961-1972). The goal of this thesis project is to demonstrate a solution to the design challenge of framing and creating an effective learning experience in a virtual space that would otherwise be impossible to realize in the real world. I employ technologies and approaches from multiple disciplines in the design and implementation of the system. Through the technology of virtual reality I establish the virtual lunar world, which provides participants with immersive firsthand experiences. Computer game technology reinforces the effectiveness of the learning environment, lending The Moon Experience the qualities of entertainment, deep thought, and knowledge retention. Motion capture and computer animation facilitate real-time interactions between users and the system to sustain the sensation of being on the Moon. I take into account related learning principles and narrative storytelling to give a participant the proper situated learning content. Providing a framework of narrative helps heighten the audience’s perception, trigger their imagination, and transcend the virtual reality’s current limitations. ii Dedication To my Grandpa, for his unconditional love, To my parents, for nurturing my creativity and imagination, To my daughters, for the joys and the challenges they bring to my life and for inspiring balance between family and career. -
Inside This Issue
The Official Newsletter of Moon Township • www.moontwp.com WINTER 2013 Inside this Issue • Township Board Switches to Paperless Agenda • New Developments in Moon • Winter Weather Safety and Reminders • Mooncrest Photo Contest • Parks and Recreation Winter Programs Moon Township Administration 1000 Beaver Grade Road Moon Township, PA 15108 TABle of CoNTents 412-262-1700 www.moontwp.com Moon Township Board of Supervisors Moon Township in Brief ........................................................................................3 Marvin Eicher, Chairman Andrew Gribben, Vice Chairman Planning ..........................................................................................................................4 John Hertzer Frank Sinatra Jim Vitale Public Safety .................................................................................................................5 Moon Township Staff Public Works ...................................................................................................................7 Jeanne Creese, Township Manager Jeffrey Ziegler, Asst. Township Manager/Finance and Human Resources MCA-TV .............................................................................................................................8 Adam McGurk, Asst. Township Manager/ Planning Director Community ...................................................................................................................9 Lisa Lapaglia, Finance Director Jim Henkemeyer, Public Works Facilities Manager Library ............................................................................................................................11 -
MASTERING the GAME Business and Legal Issues for Video Game Developers Creative Industries – No
Total width of maze blue lines should not exceed 224 pixels Total height including characters should not exceed 288 pixels (upper text may vary) may text (upper pixels 288 exceed not should characters including height Total NOTICE: - Please use this version as a reference for accurate position of characters when developing artwork based on the Pac-man 80s Arcade Game Maze. ACTION SCENE 4 - In addition, note that text/titles do not need to follow any exact position or pixel size and that the examples above are style references. (DRAMATIC SCENE) - Character artwork shall not exceed 16pixels x 16pixels. - Black areas should exist surrounding the maze. ©NAMCO BANDAI Games Inc. Last version: S/S 2012 MASTERING THE GAME Business and Legal Issues for Video Game Developers Creative industries – No. 8 By David Greenspan With contributions from S. Gregory Boyd, Jas Purewal and Matthew Datum Credits for Cover Screenshots: Image (top left) courtesy of Stuart Miles / FreeDigitalPhotos.net Prison Architect (top middle), © Introversion Software Ltd. Thralled (top right), © Miguel Oliveira Image (middle left and used on every odd page) courtesy of Stuart Miles / FreeDigitalPhotos.net PAC-MAN (middle right) TM & © NAMCO BANDAI Games Inc. To The Moon (lower left), © Freebird Games Inc. Battlefield and SimCity (lower middle and right), © EA Mastering the Game 3 TABLE OF CONTENTS LIST OF FIGURES 10 LIST OF TABLES 10 LIST OF BOXES 10 ABOUT THE AUTHORS 11 PREFACE 13 EXECUTIVE SUMMARY 15 CHAPTER 1 18 THE GlOBAL STRUCTURE OF THE VIDEO GAME INDUSTRY 18 1.1 The