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The Style of Video Games Graphics: Analyzing the Functions of Visual Styles in Storytelling and Gameplay in Video Games

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The Style of Video Games Graphics: Analyzing the Functions of Visual Styles in Storytelling and Gameplay in Video Games The Style of Video Games Graphics: Analyzing the Functions of Visual Styles in Storytelling and Gameplay in Video Games by Yin Wu B.A., (New Media Arts, SIAT) Simon Fraser University, 2008 Thesis Submitted In Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Interactive Arts and Technology Faculty of Communication, Art and Technology Yin Wu 2012 SIMON FRASER UNIVERSITY Fall 2012 Approval Name: Yin Wu Degree: Master of Arts Title of Thesis: The Style of Video Games Graphics: Analyzing the Functions of Visual Styles in Storytelling and Gameplay in Video Games Examining Committee: Chair: Carman Neustaedter Assistant Professor School of Interactive Arts & Technology Simon Fraser University Jim Bizzocchi, Senior Supervisor Associate Professor School of Interactive Arts & Technology Simon Fraser University Steve DiPaola, Supervisor Associate Professor School of Interactive Arts & Technology Simon Fraser University Thecla Schiphorst, External Examiner Associate Professor School of Interactive Arts & Technology Simon Fraser University Date Defended/Approved: October 09, 2012 ii Partial Copyright Licence iii Abstract Every video game has a distinct visual style however the functions of visual style in game graphics have rarely been investigated in terms of medium-specific design decisions. This thesis suggests that visual style in a video game shapes players’ gaming experience in terms of three salient dimensions: narrative pleasure, ludic challenge, and aesthetic reward. The thesis first develops a context based on the fields of aesthetics, art history, visual psychology, narrative studies and new media studies. Next it builds an analytical framework with two visual styles categories containing six separate modes. This research uses examples drawn from 29 games to illustrate and to instantiate the categories and the modes. The application of this analytical framework against the games reveals a series of design heuristics. Finally, the thesis findings, framework, and heuristics are tested in the detailed close reading and analysis of visual style in two representative video games. Keywords: visual style; visual design; gameplay; narrative; aesthetics; believability iv Dedication This thesis is dedicated to my family, especially… to my wife Jing who shows great understanding and supports me each step of the way; to my grandma who encourages and enlightens me with her lifetime of wisdom; to my late grandpa who instilled me the importance of diligence and endurance; to my mom and dad who give unconditional love and support; to all of my close ones who bring me cheers and joys during my graduate years. v Acknowledgements I would never have been able to complete my thesis without the guidance, support and inspirations from my supervisor committees, fellow graduate students and the wonderful people I worked with at SIAT. I would like to express my deepest gratitude to my senior supervisor, Professor Jim Bizzocchi, who is caring, patient and passionate. He made my research in video games a joyful experience and taught me everything on how to be a competent scholar. I would like to thank Professor Steve DiPaola, my supervisor, for all the support and extra inputs he gave me. I would like to thank my external examiner, Thecla Schiphorst, for her agreement to review my thesis. As always, I appreciate her scholarly perceptions and advice. I also owe a great deal of gratitude to my fellow graduate students, Jeremy Turner, Josh Tanebaum and Angela Melgaard at the SIAT research labs. Every discussion with them contributed something new and exciting to my research. They opened my eyes to new knowledge in the research field and their suggestions for literatures played a big role in building the theoretical foundation of my thesis. Although working as a teaching assistant at SIAT is not directly related to my research, it provided me with the critical financial support during the time. I would like to take this chance to express my special thanks to two people who gave the opportunity to work at the first place, Yaana Dancer who recommended me for my first teaching position; and Susan Clements-Vivian who gave me the very much needed trust during my earlier days of teaching. vi Table of Contents Approval .............................................................................................................................ii Partial Copyright Licence .................................................................................................. iii Abstract .............................................................................................................................iv Dedication ......................................................................................................................... v Acknowledgements ...........................................................................................................vi Table of Contents ............................................................................................................. vii List of Tables .....................................................................................................................xi List of Figures................................................................................................................... xii 1. Introduction ............................................................................................................ 1 1.1. Research Question .................................................................................................. 1 1.2. Research Method and Outcomes ............................................................................ 4 1.3. Research Data ......................................................................................................... 7 1.4. Thesis Reading Guideline ........................................................................................ 9 2. Literature Review ................................................................................................. 11 2.1. Existing Analytical Lenses ...................................................................................... 11 2.1.1. Jim Bizzochi’s Narrative Framework .......................................................... 11 2.1.2. Owen Demers’ Six Visual Genres in Digital Painting ................................. 12 2.1.3. Rudolf Arnheim’s Gestalt Psychology of Visual Expression ....................... 13 2.1.3.1. Definition of Expression and Traditional Theories ....................... 13 2.1.3.2. Dimension One – The Holistic Nature of Expression ................... 15 2.1.3.3. Dimension Two – Structural Similarity in Expression................... 16 2.1.3.4. Dimension Three – Generality in Expression .............................. 16 2.1.4. Eric Zimmerman’s Aesthetic Parameters: Narrative, Interactivity, Play and Game ........................................................................................... 18 2.2. Visual Aesthetics and Expressivity ......................................................................... 21 2.2.1. Forms and Beauty in Art History ................................................................. 21 2.2.2. Artistic Expression, Symbolism and Visual Rhetoric .................................. 24 2.2.3. Realism and Abstraction ............................................................................. 36 2.3. Narrative Studies .................................................................................................... 43 2.3.1. Classic Narratology .................................................................................... 43 2.3.2. Visual Storytelling ....................................................................................... 46 2.4. New Media Studies ................................................................................................ 47 2.4.1. Interactivity in Digital Environment ............................................................. 47 2.4.2. Immersion and Engagement ...................................................................... 48 3. Research Domain – Visual Design Categories in Game ................................... 55 3.1. Character Design ................................................................................................... 55 3.1.1. Face............................................................................................................ 56 3.1.2. Physique/Body Type ................................................................................... 58 3.1.3. Gesture/Pose .............................................................................................. 59 3.1.4. Costume ..................................................................................................... 61 3.2. Props Design .......................................................................................................... 62 3.2.1. Weapon ...................................................................................................... 62 vii 3.2.2. Vehicle ........................................................................................................ 64 3.2.3. Item............................................................................................................. 65 3.3. Environment Design ............................................................................................... 66 3.4. Visual Effect ........................................................................................................... 68 4. Framework
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