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The Resurrection of Permadeath: an Analysis of the Sustainability of Permadeath Use in Video Games
The Resurrection of Permadeath: An analysis of the sustainability of Permadeath use in Video Games. Hugh Ruddy 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: ___________________ Hugh Ruddy 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: ___________________ Hugh Ruddy 28th February 2014 Abstract The purpose of this research paper is to study the the past, present and future use of Permadeath in video games. The emergence of Permadeath games in recent months has exposed the mainstream gaming population to the concept of the permanent death of the game avatar, a notion that has been vehemently avoided by game developers in the past. The paper discusses the many incarnations of Permadeath that have been implemented since the dawn of video games, and uses examples to illustrate how gamers are crying out for games to challenge them in a unique way. The aims of this are to highlight the potential that Permadeath has in the gaming world to become a genre by itself, as well as to give insights into the ways in which gamers play Permadeath games at the present. To carry out this research, the paper examines the motivation players have to play games from a theoretical standpoint, and investigates how the possibilty of failure in video games should not be something gamers stay away from. -
Issn 2320-9186 1668
GSJ: Volume 8, Issue 8, August 2020 ISSN 2320-9186 1668 GSJ: Volume 8, Issue 8, August 2020, Online: ISSN 2320-9186 www.globalscientificjournal.com Theoretical overview of playing multiplayer video game using EEG device (Neuro Sky Mobile 2) DR. ASHRAF UDDIN,MD.SHAID HASAN PRANTO, ERSHADUL ALAM SEZAN,ABDUS SALAM NIHAL,MOSTAFIZ SHOVON ABSTRACT In this paper we proposed a multiplayer number picker game using brain computer interface (BCI). This game will be controlled by at least two or more people using NeuroSky MindWave Mobile 2. The users will advance through the game by choosing numbers through their brain. Our assumption is the game can be played by both able body or people with disability or both. This will be a simple game which may determine people’s impression and maybe helpful to other Electroencephalography (EEG) based brain computer interface devices to perform multi computational task from multiple users. In our paper we have examined different paper on BCI process using EEG devices that enabled us to learn more about multiplayer gaming advantages in the field of brain computer interface (BCI). 1. INTRODUCTION In brain computer interface it offers a non-invasive means of enabling a human to send messages and commands directly from his or her brain to a computer without moving or by wearing a simple scalp probe. Brain computer interface (BCI) provide the brain with the new output channels that depends on brain activity rather that on peripheral nerves and muscles. BCI can for example provide communication and control, in which the users intent is decoded from electrophysiological measures of brain activity. -
Permadeath in Dayz
Fear, Loss and Meaningful Play: Permadeath in DayZ Marcus Carter, Digital Cultures Research Group, The University of Sydney; Fraser Allison, Microsoft Research Centre for Social NUI, The University of Melbourne Abstract This article interrogates player experiences with permadeath in the massively multiplayer online first-person shooter DayZ. Through analysing the differences between ‘good’ and ‘bad’ instances of permadeath, we argue that meaningfulness – in accordance with Salen & Zimmerman’s (2003) concept of meaningful play – is a critical requirement for positive experiences with permadeath. In doing so, this article suggests new ontologies for meaningfulness in play, and demonstrates how meaningfulness can be a useful lens through which to understand player experiences with negatively valanced play. We conclude by relating the appeal of permadeath to the excitation transfer effect (Zillmann 1971), drawing parallels between the appeal of DayZ and fear-inducing horror games such as Silent Hill and gratuitously violent and gory games such as Mortal Kombat. Keywords DayZ, virtual worlds, meaningful play, player experience, excitation transfer, risk play Introduction It's truly frightening, like not game-frightening, but oh my god I'm gonna die-frightening. Your hands starts shaking, your hands gets sweaty, your heart pounds, your mind is racing and you're a wreck when it's all over. There are very few games that – by default – feature permadeath as significantly and totally as DayZ (Bohemia Interactive 2013). A new character in this massively multiplayer online first- person shooter (MMOFPS) begins with almost nothing, and must constantly scavenge from the harsh zombie-infested virtual world to survive. A persistent emotional tension accompanies the requirement to constantly find food and water, and a player will celebrate the discovery of simple items like backpacks, guns and medical supplies. -
Massively Multiplayer Online Role Playing Game Chat Project
[Massively Multiplayer Online Role Playing Game Chat] 175 Lakeside Ave, Room 300A Phone: (802)865-5744 Fax: (802)865-6446 1/21/2016 http://www.lcdi.champlain.edu Disclaimer: This document contains information based on research that has been gathered by employee(s) of The Senator Patrick Leahy Center for Digital Investigation (LCDI). The data contained in this project is submitted voluntarily and is unaudited. Every effort has been made by LCDI to assure the accuracy and reliability of the data contained in this report. However, LCDI nor any of our employees make no representation, warranty or guarantee in connection with this report and hereby expressly disclaims any liability or responsibility for loss or damage resulting from use of this data. Information in this report can be downloaded and redistributed by any person or persons. Any redistribution must maintain the LCDI logo and any references from this report must be properly annotated. Contents Introduction ............................................................................................................................................................................ 2 Background: ........................................................................................................................................................................ 2 Purpose and Scope: ............................................................................................................................................................. 3 Research Questions: ........................................................................................................................................................... -
Metaverse Roadmap Overview, 2007. 2007
A Cross-Industry Public Foresight Project Co-Authors Contributing Authors John Smart, Acceleration Studies Foundation Corey Bridges, Multiverse Jamais Cascio, Open the Future Jochen Hummel, Metaversum Jerry Paffendorf, The Electric Sheep Company James Hursthouse, OGSi Randal Moss, American Cancer Society Lead Reviewers Edward Castronova, Indiana University Richard Marks, Sony Computer Entertainment Alexander Macris, Themis Group Rueben Steiger, Millions of Us LEAD SPONSOR FOUNDING PARTNERS Futuring and Innovation Center Graphic Design: FizBit.com accelerating.org metaverseroadmap.org MVR Summit Attendees Distinguished industry leaders, technologists, analysts, and creatives who provided their insights in various 3D web domains. Bridget C. Agabra Project Manager, Metaverse Roadmap Project Patrick Lincoln Director, Computer Science Department, SRI Janna Anderson Dir. of Pew Internet’s Imagining the Internet; Asst. International Prof. of Communications, Elon University Julian Lombardi Architect, Open Croquet; Assistant VP for Tod Antilla Flash Developer, American Cancer Society Academic Services and Technology Support, Office of Information Technology Wagner James Au Blogger, New World Notes; Author, The Making of Second Life, 2008 Richard Marks Creator of the EyeToy camera interface; Director of Special Projects, Sony CEA R&D Jeremy Bailenson Director, Virtual Human Interaction Lab, Stanford University Bob Moore Sociologist, Palo Alto Research Center (PARC), PlayOn project Betsy Book Director of Product Management, Makena Technologies/There; -
Choosing My Avatar & the Psychology of Virtual Worlds
Kaleidoscope Volume 11 Article 89 July 2014 Choosing My Avatar & the Psychology of Virtual Worlds: What Matters? Jennifer Wu Follow this and additional works at: https://uknowledge.uky.edu/kaleidoscope Click here to let us know how access to this document benefits oy u. Recommended Citation Wu, Jennifer (2013) "Choosing My Avatar & the Psychology of Virtual Worlds: What Matters?," Kaleidoscope: Vol. 11, Article 89. Available at: https://uknowledge.uky.edu/kaleidoscope/vol11/iss1/89 This Summer Research and Creativity Grants is brought to you for free and open access by the The Office of Undergraduate Research at UKnowledge. It has been accepted for inclusion in Kaleidoscope by an authorized editor of UKnowledge. For more information, please contact [email protected]. Choosing My Avatar & the Psychology of Virtual Worlds: What Matters? Student: Jennifer Wu Faculty Mentor: Philip Kraemer Background Virtual worlds began as online environments that provide shared space for a society of users who are primarily engaged in entertainment or social purposes. As these worlds become more pervasive and popular, applications of these worlds and their technologies already show increasing potential for use by educators and researchers. There are currently several different types of virtual worlds growing in popularity that target different demographics: games for real life simulation, education, and user creation. Second Life (SL) is a particular virtual world, created by Linden Labs and available free for download at their website (www.secondlife.com). SL users log in from over a hundred countries and approximately two hundred universities have a presence in SL for education and research purposes. -
Platf Orm Game First Person Shooter Strategy Game Alternatereality Game
First person shooter Platform game Alternate reality game Strategy game Platform game Strategy game The platform game (or platformer) is a video game genre Strategy video games is a video game genre that emphasizes characterized by requiring the player to jump to and from sus- skillful thinking and planning to achieve victory. They empha- pended platforms or over obstacles (jumping puzzles). It must size strategic, tactical, and sometimes logistical challenges. be possible to control these jumps and to fall from platforms Many games also offer economic challenges and exploration. or miss jumps. The most common unifying element to these These games sometimes incorporate physical challenges, but games is a jump button; other jump mechanics include swing- such challenges can annoy strategically minded players. They ing from extendable arms, as in Ristar or Bionic Commando, are generally categorized into four sub-types, depending on or bouncing from springboards or trampolines, as in Alpha whether the game is turn-based or real-time, and whether Waves. These mechanics, even in the context of other genres, the game focuses on strategy or tactics. are commonly called platforming, a verbification of platform. Games where jumping is automated completely, such as The Legend of Zelda: Ocarina of Time, fall outside of the genre. The platform game (or platformer) is a video game genre characterized by requiring the player to jump to and from sus- pended platforms or over obstacles (jumping puzzles). It must be possible to control these jumps and to fall from platforms or miss jumps. The most common unifying element to these games is a jump button; other jump mechanics include swing- ing from extendable arms, as in Ristar or Bionic Commando, or bouncing from springboards or trampolines, as in Alpha Waves. -
The Effects of Portal 2 and Lumosity on Cognitive and Noncognitive Skills
Computers & Education 80 (2015) 58e67 Contents lists available at ScienceDirect Computers & Education journal homepage: www.elsevier.com/locate/compedu The power of play: The effects of Portal 2 and Lumosity on cognitive and noncognitive skills * Valerie J. Shute , Matthew Ventura, Fengfeng Ke Florida State University, College of Education, 1114 West Call Street, Tallahassee, FL 32306-4453, USA article info abstract Article history: In this study, we tested 77 undergraduates who were randomly assigned to play either a popular video Received 11 May 2014 game (Portal 2) or a popular brain training game (Lumosity) for 8 h. Before and after gameplay, par- Received in revised form ticipants completed a set of online tests related to problem solving, spatial skill, and persistence. Results 19 July 2014 revealed that participants who were assigned to play Portal 2 showed a statistically significant advantage Accepted 23 August 2014 over Lumosity on each of the three composite measuresdproblem solving, spatial skill, and persistence. Available online 30 August 2014 Portal 2 players also showed significant increases from pretest to posttest on specific small- and large- scale spatial tests while those in the Lumosity condition did not show any pretest to posttest differ- Keywords: Assessment ences on any measure. Results are discussed in terms of the positive impact video games can have on Persistence cognitive and noncognitive skills. Problem solving © 2014 Elsevier Ltd. All rights reserved. Spatial skills Videogames 1. Introduction Most children and young adults gravitate toward digital games. The Pew Internet and American Life Project surveyed 1102 youth be- tween the ages of 12 and 17 and found that 97%dboth males (99%) and females (94%)dplay some type of digital game (Lenhart et al., 2008). -
Complexity of Virtual Worlds' Terms of Service
Complexity of Virtual Worlds’ Terms of Service Holger M. Kienle1, Andreas Lober2, Crina A. Vasiliu3,andHausiA.M¨uller1 1 University of Victoria, Victoria, BC, Canada {kienle,hausi}@cs.uvic.ca 2 RAe Schulte Riesenkampff, Frankfurt am Main, Germany [email protected] 3 University of Victoria MBA Alumni, Victoria, BC, Canada [email protected] Abstract. This paper explores Terms of Service agreements of virtual worlds from the perspective of user complexity. We argue that these terms are too complicated for the average user to fully understand and manage because they exhibit a high technical or legal complexity. We also point out complexity problems that are grounded in size and readability of the texts, keeping track of changes when the terms evolve, and the scope of the terms. Based on these observations we identify approaches to reduce the complexity of Terms of Service agreements. Keywords: virtual worlds, terms of service, legal statements, readabil- ity scores. 1 Introduction This paper explores the complexity of Terms of Service (ToS) and other related legal statements that the ToS refers to. Operators of virtual worlds post the ToS on their web sites; it can be seen as a contract between the operator of the virtual world and its users. The goal of this paper is to explore and understand the complexity of the ToS, but not to analyze it from a legal perspective. Thus, we here take the content of the ToS at face value. The ToS is important from the users’ perspective because the operators use the ToS to put restrictions on users’ rights and conduct. -
The Metaverse and Digital Realities Transcript Introduction Plenary
[Scientific Innovation Series 9] The Metaverse and Digital Realities Transcript Date: 08/27/2021 (Released) Editors: Ji Soo KIM, Jooseop LEE, Youwon PARK Introduction Yongtaek HONG: Welcome to the Chey Institute’s Scientific Innovation Series. Today, in the 9th iteration of the series, we focus on the Metaverse and Digital Realities. I am Yongtaek Hong, a Professor of Electrical and Computer Engineering at Seoul National University. I am particularly excited to moderate today’s webinar with the leading experts and scholars on the metaverse, a buzzword that has especially gained momentum during the online-everything shift of the pandemic. Today, we have Dr. Michael Kass and Dr. Douglas Lanman joining us from the United States. And we have Professor Byoungho Lee and Professor Woontack Woo joining us from Korea. Now, I will introduce you to our opening Plenary Speaker. Dr. Michael Kass is a senior distinguished engineer at NVIDIA and the overall software architect of NVIDIA Omniverse, NVIDIA’s platform and pipeline for collaborative 3D content creation based on USD. He is also the recipient of distinguished awards, including the 2005 Scientific and Technical Academy Award and the 2009 SIGGRAPH Computer Graphics Achievement Award. Plenary Session Michael KASS: So, my name is Michael Kass. I'm a distinguished engineer from NVIDIA. And today we'll be talking about NVIDIA's view of the metaverse and how we need an open metaverse. And we believe that the core of that metaverse should be USD, Pixar's Universal Theme Description. Now, I don't think I have to really do much to introduce the metaverse to this group, but the original name goes back to Neal Stephenson's novel Snow Crash in 1992, and the original idea probably goes back further. -
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. -
Cutscenes, Agency and Innovation Ben Browning a Thesis In
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Concordia University Research Repository Should I Skip This?: Cutscenes, Agency and Innovation Ben Browning A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada April 2016 © Ben Browning CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Ben Browning Entitled: Should I Skip This?: Cutscenes, Agency and Innovation and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Darren Wershler External Examiner Peter Rist Examiner Marc Steinberg Supervisor Approved by Haidee Wasson Graduate Program Director Catherine Wild Dean of the Faculty of Fine Arts Date ___________________________________ iii ABSTRACT Should I Skip This?: Cutscenes, Agency and Innovation Ben Browning The cutscene is a frequently overlooked and understudied device in video game scholarship, despite its prominence in a vast number of games. Most gaming literature and criticism concludes that cutscenes are predetermined narrative devices and nothing more. Interrogating this general critical dismissal of the cutscene, this thesis argues that it is a significant device that can be used to re-examine a number of important topics and debates in video game studies. Through an analysis of cutscenes deriving from the Metal Gear Solid (Konami, 1998) and Resident Evil (Capcom, 1996) franchises, I demonstrate the cutscene’s importance within (1) studies of video game agency and (2) video game promotion.