DOCSLIB.ORG

Emulating Authentic Dialogue in Roleplaying Video Games

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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 .................................................................................................................................. 99 Figures......................................................................................................................................... 111 2 Abstract Dialogue systems are integral mechanics in roleplaying video games, as forms of worldbuilding that acknowledge player choice. Early conceptions of game dialogue in text adventure games let players type in whatever they want to say, in attempts to emulate true conversational fidelity. However, their rudimentary structures limit the possibility of direct and topical responses to typed input, breaking immersion within the game. Furthermore, consumer shifts in primary gaming platforms, from personal computers to dedicated video game consoles, influence how dialogue is designed within technological restraints. This thesis examines how video game dialogue effectively mimics conversations with the player while maintaining a sense of immersion despite platform limitations. An exploration of critical game design factors, including the balance between gameplay and narrative, reveals how dialogue systems historically shift from freeform designs to more scripted structures. Though a consideration and application of commonly-used game design strategies in other development areas, this thesis promotes innovation in dialogue system design, offering new potentials for play. Les systèmes de dialogue sont des mécanismes intégraux qui reconnaissent les choix du joueur dans les jeux de rôle en tant que formes de worldbuilding. Les premières conceptions du dialogue dans les jeux d'aventure textuels permettent aux joueurs d’entrer ce qu’ils veulent, afin d'imiter la fidélité d’une conversation. Cependant, leurs structures rudimentaires limitent la possibilité de réponses directes et topiques à l'entrée dactylographiée, brisant l'immersion dans le jeu. De plus, les changements de consommation dans les plates-formes de jeu primaires depuis les ordinateurs personnels jusqu'aux consoles de jeux vidéo dédiées influencent la façon dont le dialogue est conçu dans le cadre des contraintes technologiques. Cette thèse examine comment le dialogue dans le jeu vidéo imite efficacement les conversations avec le joueur tout en conservant un sentiment d'immersion malgré les limites de la plate-forme. Une exploration des facteurs critiques de la conception du jeu, y compris l'équilibre entre le gameplay et le récit, révèle comment les systèmes de dialogue se sont historiquement éloignés des conceptions libres vers des structures plus scénarisées. Bien qu'il s'agisse d'une considération et d’une application de stratégies de conception de jeu couramment utilisées dans d'autres domaines de développement, cette thèse encourage l'innovation dans la conception de systèmes de dialogue, offrant de nouveaux potentiels de jeu. 3 Acknowledgements To begin, I cannot be grateful enough for the unwavering support of Professor Jonathan Sterne. This thesis owes itself in its entirety to his never-ending patience and guidance over the past two years. Truly, none of this could have been done without him, and I am incredibly fortunate to have such a wonderful supervisor. I would also like to extend my thanks to several other faculty members: Professors Becky Lentz, Thomas Lamarre, Biella Coleman, and Yuri Furuhata. Their seminars challenged my perspectives and research in ways that I regularly revisit outside of the classroom. Moving provinces to attend McGill has been an endlessly rewarding experience, and I now look back on the experience as one of my best decisions thus far. In addition, I thank McGill’s Art History and Communications department, the College of Arts, and the Social Sciences and Humanities Research Council of Canada for their financial support. From my first exposure to my AHCS cohort during an orientation gathering in August 2016, I have felt welcomed by my Montreal family and enjoyed the wonderful friendship of Lindsay Corbett and Kyrstin Felts, whose passion and laughter made this experience so unforgettable. I am also lucky to enjoy the presence of the video game development community of Montreal, with groups such as Pixelles allowing me to attend the 2017 Game Developers Conference. Most importantly, thank you to my family back in Ontario, my parents and dog Bella. I hope they are proud of me, or at least are now slightly convinced that my youth was not entirely wasted playing video games. 4 Introduction This is Belwit Square. Its many historic and picturesque buildings are obscured by a cloud of orange smoke. >go south You can’t see well enough to find your way out. >get down That sentence isn’t one I recognize. >go back I don’t know the word “back.” >what There was no verb in that sentence! >quit Your score is 0 of a possible 600, in 15 moves. This puts you in the class of Charlatan.12 The above transcript comes from my first playthrough of the challenging 1985 text adventure game Spellbreaker,3 Prior to high fidelity video game graphics with characters flirting with the uncanny valley boundary, prior to rich voice acting and full orchestral scores, prior to any type of controllable avatar walking around, text adventures are considered some of the first roleplaying video games.4 To some, the two components of the phrase text adventure stand at 1 Infocom, Spellbreaker, Apple II (Infocom, 1985). 2 Transcribed excerpts from text adventure games use a “>” to indicate the player’s input. Following this, lines without this are prompts from the game. 3 Throughout this work I use both “text adventures” and “text adventure games” to refer to the same genre of games. 4 Earlier video games include arcade experiences such as Pong, whereas the games I include in my scope are personal video games played within the home. 5 odds with each other, akin to a cheesy Reading Rainbow-eqsue campaign promoting literacy as cool and hip to young teens. Those accustomed to action-packed gunplay of modern shooter video games can find themselves restless at the thought of reading being the primary component of a game. However, text adventure games represent the potential of interactivity and sociality with a digital other during a period when such concepts seemed futuristic and unattainable. Personal computers in their infancy were used to receive input, but with this software it could actually talk back. Through fantastical scenarios, these games mimic conversations, delivered by a technology that was programed and perceived as impartial and impersonal. Despite the constraints of computers in the early 1980s, text adventures made the most of existing technological capabilities and convinced the player they were listened to, and it was exciting.5 The typical gameplay experience of a classical text adventure game is summed up as follows. A player reads a passage on a computer monitor describing the surroundings of a fictional in-game space and any contextual information, such as tools within sight or obstacles blocking a path forward. For example, consider the opening passage of the 1976 game Adventure (later renamed to Colossal Cave Adventure) by Will Crowther, for the PDP-10 mainframe computer: You are standing at the end of a road before a small brick building. Around you is a forest. A small stream flows out of the building and down a gully.6 Beneath the text is a flashing cursor indicating the option to input text, similar to those in conventional word processing programs (fig. 1). The player, using the computer’s keyboard, types in their desired action in as few words as possible. The computer immediately returns an 5 Krystina Madej, Interactivity, Collaboration, and Authoring in Social Media (Cham: Springer, 2016), 49-54. 6 Will Crowther, Adventure, PDP-10 (Crowther, 1976). 6 appropriate response, and a new description follows. This gameplay loop continues across various tasks and puzzles until the game is completed (or the player gives up). Many text adventure games do not have a “game over” screen, and so the player can potentially spend long
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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? .
    [Show full text]
  • Realistic Dialogue Engine for Video Games
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 1-5-2014 12:00 AM Realistic Dialogue Engine for Video Games Caroline M. Rose The University of Western Ontario Supervisor Mike Katchabaw The University of Western Ontario Graduate Program in Computer Science A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Science © Caroline M. Rose 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Artificial Intelligence and Robotics Commons Recommended Citation Rose, Caroline M., "Realistic Dialogue Engine for Video Games" (2014). Electronic Thesis and Dissertation Repository. 2652. https://ir.lib.uwo.ca/etd/2652 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. REALISTIC DIALOGUE ENGINE FOR VIDEO GAMES (Thesis format: Monograph) by Caroline M. Rose Graduate Program in Computer Science A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Caroline M. Rose 2015 Abstract The concept of believable agent has a long history in Artificial Intelligence. It has applicability in multiple fields, particularly video games. Video games have shown tremendous technological advancement in several areas such as graphics and music; however, techniques used to simulate dialogue are still quite outdated. In this thesis, a method is proposed to allow a human player to interact with non-player characters using natural-language input.
    [Show full text]
  • 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
    [Show full text]
  • Toward a Deeper Understanding of Branching Dialogue Systems
    TOWARD A DEEPER UNDERSTANDING OF BRANCHING DIALOGUE SYSTEMS LEANNE C. TAYLOR-GILES BFA (Creative Writing Production) Submitted in partial fulfilment of the requirements for the degree of Masters by Research. CREATIVE INDUSTRIES FACULTY QUEENSLAND UNIVERSITY OF TECHNOLOGY 2014 Leanne C. Taylor-Giles -- Understanding Branching Dialogue Systems Keywords Agency; branching dialogue systems; conversation architecture; creative writing; critical path; emergent narrative; emotional interface; immersion; interaction design; interactive narrative; literary criticism; narrative design; player character; practice-led; roleplaying video games; writing for video games. 2 – Creative Industries, QUT Understanding Branching Dialogue Systems – Leanne C. Taylor-Giles Abstract This exegesis addresses the concept of writing for video games, and specifically the branching dialogue systems available within contemporary roleplaying video games. It suggests a taxonomy for the critique of interactive narratives, and seeks to answer the question of whether branching dialogues may be separated from their medium in order to apply more traditional methods of literary criticism. The exegesis covers the critique of four contemporary roleplaying video games that are rated as the ‘best’ from among the offerings of the current video game development industry. It also examines the author’s personal works from both an internal and external standpoint, to further elucidate the aspects of writing for branching dialogues and interactive media that have yet to be discussed from a practitioner’s point of view within an academic context. As a conclusion, the exegesis presents a final project aimed at supporting the reflections and discoveries made throughout, providing a first-hand look at a game writer’s unedited creative process and the methods by which greater interactivity with non-player characters may be achieved.
    [Show full text]
  • UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations
    UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Increasing Authorial Leverage in Generative Narrative Systems Permalink https://escholarship.org/uc/item/4dq8w2g9 Author Garbe, Jacob Publication Date 2020 License https://creativecommons.org/licenses/by-nc-sa/4.0/ 4.0 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ INCREASING AUTHORIAL LEVERAGE IN GENERATIVE NARRATIVE SYSTEMS A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Jacob Garbe September 2020 The Dissertation of Jacob Garbe is approved: Professor Michael Mateas, Chair Professor Noah Wardrip-Fruin Professor Ian Horswill Quentin Williams Acting Vice Provost and Dean of Graduate Studies Copyright c by Jacob Garbe 2020 Table of Contents List of Figures v Abstract xi Dedication xiii Acknowledgments xiv 1 Introduction 1 1.0.1 Traversability . 11 1.0.2 Authorability . 16 1.0.3 MDA Framework . 25 1.0.4 System, Process, Product . 26 1.0.5 Axes of Analysis . 27 1.0.6 PC3 Framework . 28 1.0.7 Progression Model . 29 1.1 Contributions . 31 1.2 Outline . 32 2 Ice-Bound 34 2.1 Experience Challenge . 35 2.2 Related Works . 41 2.2.1 Non-Digital Combinatorial Fiction . 41 2.2.2 Digital Combinatorial Fiction . 51 2.3 Relationship to Related Works . 65 2.4 System Description . 66 2.4.1 Summary . 66 2.5 The Question of Authorial Leverage . 78 2.5.1 Traversability . 78 2.5.2 Authorability . 85 2.6 System Summary .
    [Show full text]
  • Exploring Player Roles and Role Affordance in Video Games1 In
    1 “Select the Type of Experience You Would Like to Have”: Exploring Player Roles and Role Affordance in Video Games1 In the conclusion to Play Between Worlds, T.L. Taylor tells game designers and critics, “[r]ather than simply being frustrated about players who do not play a game ‘right’ or who ‘mess up’ otherwise perfect systems . we need to take seriously the range of interventions that occur and why” they occur when players engage with video games (158-59). In other words, it would be a mistake to focus our attention on game systems and possibility spaces while ignoring or disparaging player agency. Even just within the genre of role-playing games (RPGs, referring in this essay only to the video game variety, though the genre sprang from and still thrives in other media), the wide variety of available experiences has spawned communities of players who fiercely advocate for their favorite games and playstyles.2 To date, analysis of these diverse game experiences has primarily focused on genres, player types, or possibility spaces, approaches that have all demonstrated their value to game criticism and design. In this essay, however, I argue that these approaches should be supplemented with an analysis of the roles players assume in relation to games (and to their communities and storyworlds). Analysis of player roles—and of the dynamics of role affordance involving designers as well as players—helps bridge the gap between existing analyses of player types and possibility spaces. Player types analysis has tended to focus on player identities
    [Show full text]
  • Framework for Developing Interactive 360-Degree Video Adventure Games
    FACULDADE DE ENGENHARIA DA UNIVERSIDADE DO PORTO Framework for Developing Interactive 360-Degree Video Adventure Games Francisco Pinho Mestrado Integrado em Engenharia Informática e Computação Supervisor: Rui Rodrigues Co-Supervisor: Rui Nóbrega July 20, 2019 Framework for Developing Interactive 360-Degree Video Adventure Games Francisco Pinho Mestrado Integrado em Engenharia Informática e Computação July 20, 2019 Abstract Making game environments, be it in 2D or 3D is an extremely laborious and skill intensive task. 360o content is a visual medium known for its increased spatial immersion and potential enhance- ment of the users’ emotional response to content [EEW18]. The possibility of using interactive 360o video or images as the game environments will allow talent to invest their creativity into other crucial aspects of game design such as narrative, sound and game mechanics. Adventure games belong in a diverse genre comprising many different types of experiences and sub-genres, from text-based adventures to puzzle-oriented point-and-click games, a cinematic experience with player choices or even a mixture of crime investigation with courtroom drama. In essence, games with simpler means of user input and a bigger focus on interactive narratives and storytelling - a very relevant field at the cutting edge of virtual reality research [RTGG17]. Further- more these games feature entirely non reflex based mechanics making the genre of "Adventure" the most fitting for integration with 360-degree visual media. This dissertation presents a framework that will allow the streamlining of the creative process of these experiences by giving creators the tools to make a fully-fledged virtual reality adventure game with 360 visual media as an interactive setting.
    [Show full text]
  • Procedural Generation and Information Games
    Generative Forensics: Procedural Generation and Information Games Michael Cook [email protected] School of Electrical Engineering and Computer Science Queen Mary University of London ABSTRACT Common justifications for the use of PCG in game design isthat Procedural generation is used across game design to achieve a it increases replayability or reduces development cost or complexity wide variety of ends, and has led to the creation of several game [22]. Although these claims regularly appear in academic papers subgenres by injecting variance, surprise or unpredictability into about PCG, to our knowledge there are no studies to support either otherwise static designs. Information games are a type of mystery claim, and in our experience adding PCG can actually increase the game in which the player is tasked with gathering knowledge and complexity of the development process. A better justification for developing an understanding of an event or system. Their reliance PCG is that it enables new kinds of game design, by changing the on player knowledge leaves them vulnerable to spoilers and hard to player’s relationship with the game’s systems, or allowing the de- replay. In this paper we introduce the notion of generative forensics velopers to work at a scale that would be otherwise impractical. The games, a subgenre of information games that challenge the player best-known example of this is Spelunky, a blend of platformer and to understand the output of a generative system. We introduce roguelike [15]. In his book of the same name [24], designer Derek information games, show how generative forensics develops the Yu explained that the use of procedural generation in Spelunky idea, report on two prototype games we created, and evaluate our was intended to reduce the reliance on rote learning in platformers, work on generative forensics so far from a player and a designer by making levels unpredictable.
    [Show full text]
  • 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
    [Show full text]
  • Proposal for the Analysis of a Video Game, a Film, and Their Relationship
    DEPARTAMENT DE COMUNICACIÓ AUDIOVISUAL I PUBLICITAT Proposal for the analysis of a video game, a film, and their relationship. (Silent Hill as a subject of the horror genre) Martha S. Ramos Ibarra Director: Dr. María T. Soto Sanfiel Bellaterra, Junio de 2012 INDEX INTRODUCTION 1 I. OBJECT OF STUDY 9 II. OBJECTIVES 11 1. Objectives 11 1.1. General Objectives 11 1.2. Specific Objectives 11 III. THEORETICAL FRAMEWORK 13 1. What is a Narrative? 15 1.2. Parts of a Narrative 15 1.2.1. Story 16 1.2.2. Discourse 19 1.3. Levels of a Story 21 1.3.1. Level of Functions 21 1.3.2. Level of Actions 23 1.3.3. Level of Narrative 23 1.4. Time and Space 24 1.4.1. Time 25 1.4.2. Space 26 1.5. Propp‘s Functions 27 1.5.1 Mischief 28 1.5.2 Spheres of Action 30 1.5.3. Types of Heroes 31 1.5.4. Character attributes 32 1.6. Suspense 32 1.7. Denouement 35 2. Narrative Formats 37 3. Literary Genres 38 4. Introduction to Horror Literature 39 4.1. Fantasy Literature 39 4.1.1. The supernatural unknown element 40 4.1.2. Identifiable Universe 41 4.1.3. Radical break between the protagonist and the universe 41 4.2. Horror Narratives 42 4.2.1. Origins of horror fictions 44 4.2.1.1. Gothic Novel 44 5. Themes and Structure of Horror Narratives 53 5.1. The Complex Discovery Plot 53 5.1.1. Onset of horrific event (evidence).
    [Show full text]
  • Universidad De Guadalajara
    Universidad de Guadalajara Centro Universitario en Arte, Arquitectura y Diseño Doctorado Interinstitucional en Arte y Cultura Tema de Tesis: En contra de la momificación. Los videojuegos como artefactos de cultura visual contemporánea: la emulación y simulación a nivel circuito, a modo de tácticas de su preservación Tesis que para obtener el grado de Doctor en Arte y Cultura Presenta: Romano Ponce Díaz Director de Tesis: Dr. Jorge Arturo Chamorro Escalante Línea de Generación y Aplicación del Conocimiento: Artes Visuales. Guadalajara, Jalisco, febrero del 2019 1 En contra de la momificación. Los videojuegos como artefactos de cultura visual contemporánea: la emulación y simulación a nivel circuito, a modo de tácticas de su preservación. ©Derechos Reservados 2019 Romano Ponce Díaz [romano.ponce@ alumnos.udg.mx] 2 ÍNDICE DE ILUSTRACIONES. 8 ÍNDICE DE TABLAS. 8 1.1 PRESENTACIÓN 9 1.2 AGRADECIMIENTOS 11 1.3 RESUMEN 13 1.4 ABSTRACT 14 2 PRIMER NODO: EXPOSICIÓN. 16 2.1.1 CAPÍTULO 2. EL PROBLEMA PREFIGURADO: 19 2.2 OTRO EPÍLOGO A MANERA DE PRÓLOGO. 19 2.3 EL RELATO COMO PRESERVADOR DEL TESTIMONIO DE LA CULTURA. 20 2.4 LA MEMORIA PROSTÉTICA, SU RELACIÓN CON LOS OBJETOS, Y, LA NATURALEZA FINITA 27 2.4.1 CINEMATOGRAFÍA, EXPLOSIONES Y FILMES PERDIDOS 29 2.4.2 LOS VIDEOJUEGOS Y LAS FORMAS DE MIRAR AL MUNDO 33 2.4.3 VIDEOJUEGOS, IDEOLOGÍA, VISUALIDAD Y ARTE: 35 2.4.4 LA ESTRUCTURA DE LA OBSOLESCENCIA Y EL MALESTAR DE LA CULTURA 46 2.5 ANTES DE QUE CAIGA EN EL OLVIDO: UNA HIPÓTESIS 49 2.5.1 SOBRE LOS OBJETIVOS, ALCANCES, Y LA MORFOLOGÍA DEL TEXTO 51 3 CAPÍTULO 3.
    [Show full text]