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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? . -
Cyber-Synchronicity: the Concurrence of the Virtual
Cyber-Synchronicity: The Concurrence of the Virtual and the Material via Text-Based Virtual Reality A dissertation presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Jeffrey S. Smith March 2010 © 2010 Jeffrey S. Smith. All Rights Reserved. This dissertation titled Cyber-Synchronicity: The Concurrence of the Virtual and the Material Via Text-Based Virtual Reality by JEFFREY S. SMITH has been approved for the School of Media Arts and Studies and the Scripps College of Communication by Joseph W. Slade III Professor of Media Arts and Studies Gregory J. Shepherd Dean, Scripps College of Communication ii ABSTRACT SMITH, JEFFREY S., Ph.D., March 2010, Mass Communication Cyber-Synchronicity: The Concurrence of the Virtual and the Material Via Text-Based Virtual Reality (384 pp.) Director of Dissertation: Joseph W. Slade III This dissertation investigates the experiences of participants in a text-based virtual reality known as a Multi-User Domain, or MUD. Through in-depth electronic interviews, staff members and players of Aurealan Realms MUD were queried regarding the impact of their participation in the MUD on their perceived sense of self, community, and culture. Second, the interviews were subjected to a qualitative thematic analysis through which the nature of the participant’s phenomenological lived experience is explored with a specific eye toward any significant over or interconnection between each participant’s virtual and material experiences. An extended analysis of the experiences of respondents, combined with supporting material from other academic investigators, provides a map with which to chart the synchronous and synonymous relationship between a participant’s perceived sense of material identity, community, and culture, and her perceived sense of virtual identity, community, and culture. -
The River of Lost Souls Life and Death on the Animas by Jonathan Thompson May 28, 2018 | $5 | Vol
REBEL YELL | POT’S FUTURE | WATER BOTTLE BATTLE High Country ForN people whoews care about the West The River of Lost Souls Life and death on the Animas By Jonathan Thompson May 28, 2018 | $5 | Vol. 50 No. 9 | www.hcn.org 50 No. | $5 Vol. 28, 2018 May CONTENTS Editor’s note The scarred and the scenic Every summer, readers stop by Paonia for a tour of High Country News’ headquarters. And like everyone else who sets out to explore the West, they always ask: What’s there to see around here? The usual response is to send them to our beauty spots — the clear, trout-filled lakes atop 10,000-foot Grand Mesa; the immense aspen for- est between here and the cute-as-a-button ski town of Crested Butte; the vertiginous chasm at Black Canyon of the Gunnison National Park; even the patio of a local winery with a spectacular view of the West Elk Mountains. But as publisher of a publication whose journalists cover the region’s most difficult environ- mental and social issues, I can’t help but encourage people to peek behind the beautiful scenery. “You should check out the dismantled coal mine owned by a billionaire in the town of Somerset,” I tell them. “Also the reservoir built by the Bureau of Reclamation, which is already a third filled with silt from the aptly named Muddy Creek. And don’t miss Sylas Garippo, age 3, plays on the bank of the Animas River at Santa Rita Park in Durango, Colorado, several days the freshly cut stump of the Ute Council Tree in Delta, after the spill at the Gold King Mine in August 2015. -
The Decline of Mmos
The Decline of MMOs Prof. Richard A. Bartle University of Essex United Kingdom May 2013 Abstract Ten years ago, massively-multiplayer online role-playing games (MMOs) had a bright and exciting future. Today, their prospects do not look so glorious. In an effort to attract ever-more players, their gameplay has gradually been diluted and their core audience has deserted them. Now that even their sources of new casual players are drying up, MMOs face a slow and steady decline. Their problems are easy to enumerate: they cost too much to make; too many of them play the exact same way; new revenue models put off key groups of players; they lack immersion; they lack wit and personality; players have been trained to want experiences that they don’t actually want; designers are forbidden from experimenting. The solutions to these problems are less easy to state. Can anything be done to prevent MMOs from fading away? Well, yes it can. The question is, will the patient take the medicine? Introduction From their lofty position as representing the future of videogames, MMOs have fallen hard. Whereas once they were innovative and compelling, now they are repetitive and take-it-or-leave-it. Although they remain profitable at the moment, we know (from the way that the casual games market fragmented when it matured) that this is not sustainable in the long term: players will either leave for other types of game or focus on particular mechanics that have limited appeal or that can be abstracted out as stand-alone games (or even apps). -
Austin Games Conference 2005
Why are we here? 28 th october 2005 Austin games conference profesSor Richard A. Bartle University of esSEx introduction • It is a truth universally acknowledged… • that I’ve called this talk “why are we here?” – I include as “we” those who would have been here if they hadn’t been out ”Networking” until 2:30am this morning • I do mean the question quite literally: why are any of us in this location right now ? • This is actually a meaningful question… 1 Deep and meaningful Put another way • Point of fact: you are All goinG to DIE • Given this information, why are you here ? In this converted balLroOm ? • Why aren’t you in – paris? – China? – Darfur? – Bed? – World of warcraft ? • Hmm, I guess some of you are in there… 2 Short answer • Well, you’re here because you’re mMorpg developers and this is a mmorpg developers’ conference – officially, “networked game development” conference… • [aside: I’m gonna call them virtual worlds , not mMorpgs ] – I’m not giving up on my book’s title yet , dammit! • But this leads to another question: Another question • Why are you [mmorpg] virtual world developers? • Why aren’t you – regular game developers? – Novelists? – Truck drivers? – Nuclear power station software engineers? – Lawyers? – level 80 on runescape with 2 blue masks, 2 green masks, 2 santa hats and a red party hat ? • “Because it would cost me $5,100 on ebay” (44 bids, 13 hours to go, and simbatamer realLy wants it) 3 hackers • Notice the subtitle answers • Some posSible answers: – You’re a vw developer Purely by acCident – You wanted a -
Exploring the Magical Girl Transformation Sequence with Flash Animation
Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design 5-10-2014 Releasing The Power Within: Exploring The Magical Girl Transformation Sequence With Flash Animation Danielle Z. Yarbrough Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Yarbrough, Danielle Z., "Releasing The Power Within: Exploring The Magical Girl Transformation Sequence With Flash Animation." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/art_design_theses/158 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. RELEASING THE POWER WITHIN: EXPLORING THE MAGICAL GIRL TRANSFORMATION SEQUENCE WITH FLASH ANIMATION by DANIELLE Z. YARBROUGH Under the Direction of Dr. Melanie Davenport ABSTRACT This studio-based thesis explores the universal theme of transformation within the Magical Girl genre of Animation. My research incorporates the viewing and analysis of Japanese animations and discusses the symbolism behind transformation sequences. In addition, this study discusses how this theme can be created using Flash software for animation and discusses its value as a teaching resource in the art classroom. INDEX WORDS: Adobe Flash, Tradigital Animation, Thematic Instruction, Magical Girl Genre, Transformation Sequence RELEASING THE POWER WITHIN: EXPLORING THE MAGICAL GIRL TRANSFORMATION SEQUENCE WITH FLASH ANIMATION by DANIELLE Z. YARBROUGH A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Art Education In the College of Arts and Sciences Georgia State University 2014 Copyright by Danielle Z. -
DEN ALLVARSAMMA LEKEN Om World of Warcraft Och Läckaget
DEN ALLVARSAMMA LEKEN Om World of Warcraft och läckaget Peder Stenberg Institution för kultur- och medievetenskaper Umeå 2011 Etnologiska skrifter 55 Institutionen för kultur- och medievetenskaper Umeå universitet Responsible publisher under swedish law: the Dean of the Faculty of Humanities Responsible publisher under swedish law: the Dean of the Medical Faculty ThisISBN: work 978 is -protected91-7459- 178by the-1 Swedish Copyright Legislation (Act 1960:729) ISSN: 1103-6516 Etnologiska skrifter ISBN: 12-1234-123-1 Layout: Frans Enmark ISSN:Elektronisk 1234-1234 version tillgänglig på http://umu.diva-portal.org/ Tryck/Printed by: Print & Media. Elektronisk version tillgänglig på http://umu.diva-portal.org/ Tryck/PrintedUmeå, Sverige by: Print 2011 & Media Umeå, Sverige 2011 TACK! Tack till alla er som gjort denna avhandling möjlig: min handledare Alf Arvidsson, min bihandledare Billy Ehn, alla vänner från World of Warcraft, Elin, Julian, Frans, Erik, Elza, Anders, mamma, pappa, Deportees, Jonas, Mattias och alla ni andra som stått ut med mitt ständiga tal om virtuella världar. Jag vill också rikta ett stort tack till alla fantastiska kollegor på institutionen. i INNEHÅLL 1. INLEDNING 1 SYFTE 3 ATT VÄLJA EMPIRI FÖR ONLINEROLLSPEL SOM FORSKNINGSFÄLT 4 METODOLOGISKA PROBLEM OCH REFLEXIVITET 7 AVGRÄNSNING AV MATERIAL OCH ETISKA ÖVERVÄGANDEN 10 OM FORSKARENS FÖRSTA MÖTE MED ETT EXKLUDERANDE FÄLT 12 DEN EXPLICITA FORSKARROLLEN 16 WORLD OF WARCRAFT 2005-2010 17 FORSKNINGSSAMMANHANG 19 DISPOSITION 21 2. OM ONLINEROLLSPELENS FORMELLA BESKAFFENHET 22 SPELET 22 Onlinerollspelen och dess historia 22 Om plats och geografi 24 Den användbara estetiken 25 Datorn och drömmen om den genomskinliga tekniken 27 Narrativ, ontologi och kosmologi 28 Om de sociala nätverken 30 Spelar man eller leker man? 31 OM SKAPANDET AV EN AVATAR 33 Val av genus och virtuellt förkroppsligande 34 Att välja sida i World of Warcraft 35 Om server och dess betydelse 39 Att välja namn 40 Jag och mina avatarer 43 3. -
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. -
Whose Game Is This Anyway?”: Negotiating Corporate Ownership in a Virtual World
“Whose Game Is This Anyway?”: Negotiating Corporate Ownership in a Virtual World T.L. Taylor Department of Communication North Carolina State University POB 8104, 201 Winston Raleigh, NC 27605 USA +1 919 515 9738 [email protected] Abstract This paper explores the ways the commercialization of multiuser environments is posing particular challenges to user autonomy and authorship. With ever broadening defi nitions of intellectual property rights the status of cultural and symbolic artifacts as products of collaborative efforts becomes increasingly problematized. In the case of virtual environments – such as massive multiplayer online role-play games – where users develop identities, bodies (avatars) and communities the stakes are quite high. This analysis draws on several case studies to raise questions about the status of culture and authorship in these games. Keywords Avatars, Internet, virtual environments, games INTRODUCTION While the history of virtual environments has so far been primarily written with an eye toward either the text-based worlds of MUDs or social graphical spaces like Active Worlds and VZones/WorldsAway, massive multiplayer online 227 Proceedings of Computer Games and Digital Cultures Conference,ed. Frans Mäyrä. Tampere: Tampere University Press, 2002. Copyright: authors and Tampere University Press. role playing games (MMORPG) have dramatically popularized virtual worlds [1]. The MMORPG genre now boasts hundreds of thousands of users and accounts for millions of dollars in revenue each year [2]. While multiplayer games are at their most basic level simply that, a game, they should be more richly seen as spaces in which users come together online and invest enormous amounts of time inhabiting a virtual space, creating characters, cultures, and communities, gaming together, making dynamic economies, and exploring elaborate geographical terrain. -
SFX’S Horror Columnist Peers Into If You’Re New to the Netflix Catherine Zeta-Jones Movie
DOCTOR WHO JODIE WHITTAKER EXCLUSIVE SCI-FI 306 DAREDEVIL SEASON 3 On set with Over 30 pages the Man of pure terror! Without Fear featuring EXCLUSIVE! HALLOWEEN Jamie Lee Curtis and SUSPIRIA CHILLING John Carpenter on the ADVENTURES OF SABRINA return of Michael Myers THE HAUNTING OF HILL HOUSE OVERLORD BRUCE CAMPBELL SLAUGHTERHOUSE RULEZ AND LOADS MORE SCARES! ISSUE 306 NOVEMBER Contents2018 34 56 61 68 HALLOWEEN CHILLING DRACUL DOCTOR WHO Jamie Lee Curtis and John ADVENTURES Bram Stoker’s great-grandson We speak to the new Time Lord Carpenter tell us about new OF SABRINA unearths the iconic vamp for Jodie Whittaker about series 11 Michael Myers sightings in Remember Melissa Joan Hart another toothsome tale. and her Heroes & Inspirations. Haddonfield. That place really playing the teenage witch on CITV needs a Neighbourhood Watch. in the ’90s? Well this version is And a can of pepper spray. nothing like that. 62 74 OVERLORD TADE THOMPSON A WW2 zombie horror from the The award-winning Rosewater 48 56 JJ Abrams stable and it’s not a author tells us all about his THE HAUNTING OF Cloverfield movie? brilliant Nigeria-set novel. HILL HOUSE Shirley Jackson’s horror classic gets a new Netflix treatment. 66 76 Who knows, it might just be better PENNY DREADFUL DAREDEVIL than the 1999 Liam Neeson/ SFX’s horror columnist peers into If you’re new to the Netflix Catherine Zeta-Jones movie. her crystal ball to pick out the superhero shows, this third season Fingers crossed! hottest upcoming scares. is probably a bad place to start. -
Learn the BEST HOPPER FEATURES
FEATURES GUIDE Learn The 15 BEST HOPPER TIPS YOU’LL FEATURES LOVE! In Just Minutes! Find A Channel Number Fast Watch DISH Anywhere! (And You Don’t Even Have To Be Home) Record Your Entire Primetime Lineup We’ll Show You How Brought to you by 1 YOUR REMOTE CONTENTS 15 TIPS YOU’LL LOVE — Pg. 4 From fi nding a lost remote, binge watching and The Hopper remote control makes it easy for you to watch, search and record more, learn all about Hopper’s best features. programming. Here’s a quick overview of the basics to get you started. Welcome HOME — Pg. 6 You’ve Made A Smart Decision MENU — Pg. 8 With Hopper. Now We’re Here SETTINGS — Pg. 10 DVR TV Power Parental Controls, Guide Settings, Closed Displays your Turns the TV To Make Sure You Understand Captioning, Screen Adjustments, Bluetooth recorded programs. on/off. All That You Can Do With It. and more. Power Guide Turns the receiver Displays the Guide. APPS — Pg. 12 on/off. Netfl ix, Game Finder, Pandora, The Weather CEO and cofounder Charlie Ergen remembers Channel and more. the beginnings of DISH as if it were yesterday. DVR — Pg. 14 The Tennessee native was hauling one of those Operating your DVR, recording series and Home Search enormous C-band TV dish antennas in a pickup managing recordings. Access the Home menu. Searches for programs. truck, along with his fellow cofounders Candy Ergen and Jim DeFranco. It was one of only two PRIMETIME ANYTIME & Apps Info/Help antennas they owned in the early 1980s. -
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.