A Scoping Review of Health Game Research: Past, Present, and Future
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A Guide to the Videogame System
SYSTEM AND EXPERIENCE A Guide to the Videogame as a Complex System to Create an Experience for the Player A Master’s Thesis by Víctor Navarro Remesal Tutor: Asunción Huertas Roig Department of Communication Rovira i Virgili University (2009) © Víctor Navarro Remesal This Master’s Thesis was finished in September, 2009. All the graphic material belongs to its respective authors, and is shown here solely to illustrate the discourse. 1 ACKNOWLEDGEMENTS I would like to thank my tutor for her support, advice and interest in such a new and different topic. Gonzalo Frasca and Jesper Juul kindly answered my e-mails when I first found about ludology and started considering writing this thesis: thanks a lot. I also have to thank all the good people I met at the ECREA 2008 Summer School in Tartu, for giving me helpful advices and helping me to get used to the academic world. And, above all, for being such great folks. My friends, family and specially my girlfriend (thank you, Ariadna) have suffered my constant updates on the state of this thesis and my rants about all things academic. I am sure they missed me during my months of seclusion, though, so they should be the ones I thanked the most. Thanks, mates. Last but not least, I want to thank every game creator cited directly or indirectly in this work, particularly Ron Gilbert, Dave Grossman and Tim Schafer for Monkey Island, Fumito Ueda for Ico and Shadow of the Colossus and Hideo Kojima for the Metal Gear series. I would not have written this thesis if it were not for videogames like these. -
Well Played 3.0: Video Games, Value and Meaning Drew Davidson Et Al
Well Played 3.0: Video Games, Value and Meaning Drew Davidson et al. Published: 2011 Categorie(s): Tag(s): "Video Games" Criticism Analysis Play Literacy 1 Preface Copyright by Drew Davidson et al. & ETC Press 2011 ISBN: 978-1-257-85845-3 Library of Congress Control Number: 2011932994 TEXT: The text of this work is licensed under a Creative Commons Attribution-NonCommercial-NonDerivative 2.5 License (http://creativecommons.org/licenses/by-nc-nd/2.5/) IMAGES: All images appearing in this work are used and reproduced with the permission of the respective copyright owners, and are not released into the Creative Commons. The respective owners reserve all rights. Design & composition by John J. Dessler THANK YOU This third Well Played book was yet another enjoyable project full of in- teresting insights into what makes videogames great. A huge thank you to all the contributors who shared their ideas along with some insipiring analysis. A thank you to John Dessler for his great work on the book design. And thanks again to participation and support of everyone who has joined in the discussion around games being well played. And to my wife, as always. 2 Table of Contents The Deeper Game of Pokémon, or, How the world's biggest RPG inad- vertently teaches 21st century kids everything they need to know ELI NEIBURGER Hills and Lines: Final Fantasy XIII SIMON FERRARI And if You Go Chasing Rabbits: The Inner Demons of American McGee's Alice MATTHEW SAKEY Limbo ALICE TAYLOR The Neverhood; A Different Kind of Never Never Land.You Had Me at Claymation STEPHEN JACOBS Heavy Rain – How I Learned to Trust the Designer JOSÉ P. -
The Role of Visual Novels As a Narrative Medium
The role of Visual Novels as a Narrative Medium Dennis van der Geest s0922544 Universiteit Leiden MA Linguistics: Language and Communication 2014-2015 Table of Contents Chapter 1: Introduction 3 Chapter 2: Ludology and Narratology 5 Chapter 3: Visual Novels 11 Chapter 4: Answering the Question 19 Chapter 5: Conclusion 26 References 27 2 Chapter 1: Introduction There are typical opinions on video games, often based on assumed violence, being detrimental to school or work, decreasing attention span, or anything about various eye conditions, posture, etc. However, these are slowly set aside to make place for a more appreciative attitude. A separate field of study has formed to study video games from a more scientific angle. This field is called ludology and is concerned with everything that is related to video games, from programming to game design to narrative. This thesis will deal with the last issue: video game narrative. As soon as one says narrative, one other field of study comes to mind: narratology, which is about all kinds of narrative, ranging from literature to dance and traditional storytelling. Other fields of study relating to video game narrative include linguistics and psychology. The question I will be addressing in this thesis is ‘what is the role of visual novels as a narrative medium?’ This question will be divided into several parts, with one chapter devoted to each part. I have already mentioned narrative and the fields of study related to it, and so the next question to be asked is ‘What are visual novels?’. Visual novels are a genre of video games that typically have little game play elements and a greater focus on the storyline. -
Game Save Game Save Incorporation in Game Design Through a MDA Analysis
Game Save Game Save Incorporation in Game Design through a MDA Analysis Kim Aava Degree Project in Game Design, 15 ECTS Credits Game Design and Graphics, Spring 2013 Supervisors: Hedda Gunneng, Adam Mayes Examiner: Steven Bachelder Abstract This paper is about save systems and will analyze save functions in various games. Save systems in games are usually blamed for harming the suspension of disbelief as it is an act taking place outside the game and should only be used for its intended purpose: letting the players store their game data, and progress whenever they need. The game save function developed as rapid leaps of technology were made, with the beginning era of home consoles and home computers allowing players to spend more time playing, creating a demand for longer play sessions in games which lead to a need of methods for storing game data. The analysis of save systems is carried out in this paper by using MDA Framework (Mechanics, Dynamics, Aesthetics), a tool used for documenting game design. This framework can be used to analyze a game from a designer‟s or player‟s perspective. By reversing the framework ADM (Aesthetics, Dynamics and Mechanics) one can analyze the user experience, which is how the player perceives the game‟s aesthetics to be, depending on the dynamics and mechanics. This analysis aims to provide knowledge of how consistency in game design and the save system can be used to create a cohesive game world that facillitates the player's experience and immersion. Keywords Consistency, game world, integration, MDA Framework, save systems. -
Xamk Opinnäytteen Kirjoitusalusta Versio 14022017
Lauri Rinne PRINCIPLES OF THE VISUAL NOVEL GENRE AND THEIR PRACTICAL EXECUTION Bachelor’s Degree Game Design 2019 Author (authors) Degree Time Lauri Rinne Bachelor of Culture April 2019 and Arts Thesis title Principles of the visual novel genre and their practical execution 48 pages 28 pages of appendices Commissioned by South-Eastern Finland University of Applied Sciences Supervisor Marko Siitonen Abstract The objective of this thesis was the video game genre of “visual novels” as well as how their principles are learned and put into practice. Extensive research of the genre was used through articles, studies and the games themselves for the purpose of analytically separating visual novels from other video game genres and studying their differences for assistance during the development of said visual novels. After the research was finished, the author then worked together with his classmates Samneang Peo and Nam-Anh Lê to design, draft and develop a playable build of an original visual novel which used knowledge about the aforementioned principles to create an experience that is authentic as possible and that would function as intended. The game engine Construct 2 was used for the project partition of the study. This then led into a short discussion about whether or not the process was as difficult as expected and why / why not as well as anything that the author learned throughout the study that is worth recognizing. The author was confident that the information offered in the study as well as the showcase of its practical results would help other developers to get familiar with the visual novel genre and learn the basics of how they are designed and built. -
Sherlock Paper
The Game’s Afoot: Designing Sherlock Holmes Clara Fernández-Vara New York University [email protected] ABSTRACT A videogame based on the Sherlock Holmes’ stories by Arthur Conan Doyle is an interesting design challenge, which commercial games have tackled only half-heartedly. This paper discusses this challenge by examining the game design strategies across pre- existing games, then proposes a new set of strategies that would help players become the dweller of 221B Baker Street. The design critique of the games focuses on the actions available to players to become a detective, and the aspects of the interactivity that invite the player to become Sherlock Holmes. The suggested design strategies to encourage detective work are based on prompts from the original stories, such as disguising oneself, doing chemical analyses, or turning the process of deduction into game mechanics. Keywords Game design, narrative, adventure games, adaptation, detective fiction INTRODUCTION Since Arthur Conan Doyle wrote A Study in Scarlet in 1886, the character of Sherlock Holmes has been the protagonist of a myriad works across media, from novellas and short stories to plays, radio shows, films, TV shows, comics, and now videogames. The tradition of games inspired by the character of Sherlock Holmes can be traced back to home computer games in the early 1980s, with Ripper! (Winnie & Baronett 1984) and Sherlock (Melbourne House 1984) being two of the earliest. Most of the Sherlock Holmes videogames belong to the genre of adventure games, and thus share traits with games like Zork: The Great Underground Empire (Infocom 1980), King’s Quest (Sierra On-Line 1984), The Secret of Monkey Island (Lucasfilm Games 1990), Myst (Cyan 1993), or more recently Machinarium (Amanita Design 2009) and Heavy Rain (Quantic Dream2010). -
Game Narrative Review
Game Narrative Review Your name (one name, please): Emily Naul Your school: The University of Texas at Austin Your email: [email protected] Month/Year you submitted this review: December 2017 Game Title: Hotel Dusk: Room 215 Platform: Nintendo DS Genre: Mystery Visual Novel/Point-and-Click Adventure Release Date: January 22, 2007 Developer: Cing Publisher: Nintendo Game Writer/Creative Director/Narrative Designer: Taisuke Kanasaki (director), Rika Suzuki (designer) The trailer for Hotel Dusk: Room 215 can be found at the following link: https://www.youtube.com/watch?v=6iVfUWVDLPk. Overview In 1979, three years after putting a bullet in his double-crossing NYPD partner and getting kicked off the force, a man named Kyle Hyde checks in to a cheap motel in the American Southwest: Hotel Dusk. He is a door-to-door salesman for a company called Red Crown now, with a sideline as an investigator "finding things that don't always want to be found." While outwardly doing his job, Hyde's true motive is a dogged search for his ex-partner Brian Bradley, who he believes is still alive, and a desire to understand 1 why Bradley sold him and his colleagues out to art theft crime ring Nile. Almost every event in the story somehow leads back to Nile, the organization that Hyde and his partner were investigating when Bradley went rogue. Hyde first arrives at the hotel on a job for Red Crown with the intention of locating missing items on an order sheet. However, he soon discovers there is more to this dive than meets the eye, starting with Room 215, which is rumored to have the power to grant wishes. -
Video Games and Agency in Contemporary
Article Games and Culture 1-20 ª The Author(s) 2018 Video Games and Agency Reprints and permission: sagepub.com/journalsPermissions.nav DOI: 10.1177/1555412017750448 in Contemporary Society journals.sagepub.com/home/gac Daniel Muriel1 and Garry Crawford2 Abstract In recent years, the idea of player control, or agency, has become central and explicit in certain video games and genres, affecting many debates concerning the study or definitions of video games. In spite of this, the notion of agency in video games has been rarely explicitly explored or defined in relation to its sociological and political dimensions. Hence, drawing on actor–network theory, (neo-)Foucauldian govern- mentality studies, and empirical data gathered over a 3-year period, this article expands to our understanding of video game player agency and, moreover, argues that video games provide an important example and perspective to consider the contemporary nature and political basis of agency. Keywords agency, actor–network theory, assemblage, neoliberalism, freedom, video games, interactivity Introduction Interactivity is a noun often associated with video games. In fact, the interactive nature of video gaming is one of the main arguments regularly used to differentiate video games from other cultural products or media. It is frequently argued that in 1 Leisure Studies Institute, University of Deusto, Bilbao, Spain 2 University of Salford, Salford, UK Corresponding Author: Daniel Muriel, Leisure Studies Institute, University of Deusto, Avenida de las Universidades, 24, 48007 Bilbao, Spain. Email: [email protected] 2 Games and Culture XX(X) video games, players “do not merely consume a pre-established piece of media, but instead are active participants in the creation of their experience” (Calleja, 2011, p. -
Reassessing Anime’ Contributors 3
CINEPHILE Table of Contents The University of British Columbia’s Film Journal Vol. 7 No. 1 Editor’s Note 2 Spring 2011 ‘Reassessing Anime’ Contributors 3 ISSN: 1712-9265 Playing the Kon Trick: Between Dates, Dimensions 4 and Daring in the films of Satoshi Kon Copyright and Publisher: Paul Wells The University of British Columbia Film Program The Sound of an Android’s Soul: Music, Muzak 9 Editor-in-Chief: and MIDI in Time of Eve Jonathan A. Cannon Philip Brophy Layout: Jonathan A. Cannon Beyond Maids and Meganekko: Examining the Moe 14 Shaun Inouye Phenomenon Faculty Advisor: Michael R. Bowman Ernest Mathijs Program Administrator: Reviewing the ‘Japaneseness’ of Japanese Animation: 19 Gerald Vanderwoude Genre Theory and Fan Spectatorship Department Liaison: Jane Leong Jennifer Suratos Artwork and Front Cover: The Higurashi Code: Algorithm and Adaptation in the 25 Chloe Chan Otaku Industry and Beyond Back Cover: John Wheeler Hanahlie Beise Mamoru Oshii’s Ghost in the Shell 2: Innocence: Thinking 30 Editorial Board: Before the Act Robyn Citizen, Andrew deWaard, Frédéric Clément Shaun Inouye, Colleen Montgomery, Brent Strang, Babak Tabarraee Printing: East Van Graphics Cinephile would like to thank the following offices and departments CINEPHILE is published by the Graduate at the University of British Columbia for their generous support: Program in Film Studies at the Depart- ment of Theatre and Film, University of Offices of the Vice President Research & International British Columbia, with the support of the Faculty of Arts Centre for Cinema -
History of the Adventure Game Interface
Clara Fernández-Vara Shaping Player Experience in Adventure Games: History of the Adventure Game Interface THE SEARCH FOR DIRECT MANIPULATION he adventure game genre is almost as old as videogames themselves. It takes its name from Adventure, programmed by Will Crowther in 1975 Tand expanded by Don Woods the following year. During the 1980s, ad- venture games were the leading genre in home computers, thanks to compa- nies such as Inform, Sierra Online or LucasArts. In 1993, Cyan’s Myst became the best-selling computer game (until the arrival of The Sims), and reinvented the genre. In the following ten years, the models set by the companies just mentioned were replicated by other developers, without there really being any significant overhauls to the conventions of the genre. This lack of innovation has contributed to the decrease in popularity of the genre in the mainstream. The development of adventure games, however, has not stopped, thanks to di- verse independent developers and publishers, as well as a growing community of amateur developers using outdated engines to make their games. In the last couple of years, changes in input devices, such as the popularization of game controllers, touch screens, and the use of gyroscopes have brought fresh air to the genre, creating new ways to immerse into the gameworld. Current adventure games are very different fromAdventure – the genre has been in a constant flux, which is most obvious in its interface design. From the prompt for keyboard input of Infocom games, to verb menus, to point- and-click contextual icons, adventure games have gone a long way in shaping player interaction.