Game Narrative Review
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The First but Hopefully Not the Last: How the Last of Us Redefines the Survival Horror Video Game Genre
The College of Wooster Open Works Senior Independent Study Theses 2018 The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre Joseph T. Gonzales The College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Part of the Other Arts and Humanities Commons, and the Other Film and Media Studies Commons Recommended Citation Gonzales, Joseph T., "The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre" (2018). Senior Independent Study Theses. Paper 8219. This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The College of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2018 Joseph T. Gonzales THE FIRST BUT HOPEFULLY NOT THE LAST: HOW THE LAST OF US REDEFINES THE SURVIVAL HORROR VIDEO GAME GENRE by Joseph Gonzales An Independent Study Thesis Presented in Partial Fulfillment of the Course Requirements for Senior Independent Study: The Department of Communication March 7, 2018 Advisor: Dr. Ahmet Atay ABSTRACT For this study, I applied generic criticism, which looks at how a text subverts and adheres to patterns and formats in its respective genre, to analyze how The Last of Us redefined the survival horror video game genre through its narrative. Although some tropes are present in the game and are necessary to stay tonally consistent to the genre, I argued that much of the focus of the game is shifted from the typical situational horror of the monsters and violence to the overall narrative, effective dialogue, strategic use of cinematic elements, and character development throughout the course of the game. -
The Best Schools for Aspiring Game Developers
THE BEST SCHOOLS FOR ASPIRING GAME DEVELOPERS THE BEST GAME Whether you’re taking your first steps or refining your skills, there’s DESIGN PROGRAMS, a game design program for anyone. Check out the 50 best RANKED BY THE undergraduate and 25 best PRINCETON REVIEW. graduate programs out there. Even in these ridiculous times, video games you want to use your artistic flourish to are there to comfort, challenge, and inspire design fascinating worlds and new us. It takes a lot of work to make your characters? Do you want to manage the favorite games, though, and a lot of business of running a studio? Or do you smarts. It’s dangerous to go alone, as one want to get your hands dirty in the coding famous adventure told us, and that’s where and programming that makes games run? awaiting new image these game design programs come in. Maybe you’re also looking to master your The Princeton Review has done all the skill set with a graduate degree. & cut out heavy lifting of researching the absolute Every adventurer knows that the first best game design programs across North steps can often be the most important. America and Europe. Whether it’s the best If you’re ready to take that leap, read teachers, the most prestigious graduates, on to find out where you should start the best facilities, or the highest average your journey. salary, you’ll find a great school for you. Want to know more? Check out The So take a moment to think about what Princeton Review’s website for further info: kind of game developer you’d like to be. -
La Evolución De La Narrativa En El Videojuego Trabajo Final De Grado
La evolución de la narrativa en el videojuego Trabajo final de grado Curso 2018/2019 Javier M. García González Beneharo Mesa Peña Grado en Periodismo Profesor tutor: Dr. Benigno León Felipe Facultad de Ciencias Sociales y de la Comunicación Trabajo final de grado RESUMEN En este trabajo se pretende mostrar los mecanismos y funcionamientos narrativos dentro de la industria lúdica del videojuego, comentando los primeros títulos que fueron creados y la posterior evolución de la narración de sus historias. Asimismo, se analizarán las particularidades entre las mecánicas del videojuego y cómo estas se ajustan a la narrativa a cada género, señalando cuáles son los más populares, cuáles incurren más en disonancias, juegos de autor, así como aquellos títulos que han sentado precedentes a la hora de crear historias en los videojuegos. Como conclusión final, se tratará de mostrar las particularidades y complejidades de un medio que, si bien es menos longevo que el cine, música o la literatura, genera más beneficio que los anteriores en su conjunto. Por otro lado, aunque en sus inicios el videojuego tuviera unos objetivos más limitados, a lo largo de su evolución se ha acercado al lenguaje literario y cinematográfico, creando así una retroalimentación entre estas tres modalidades artísticas. PALABRAS CLAVE Videojuego, narrativa, ludonarrativa, software, interactividad, transmedia, arte, literatura, cine. ABSTRACT The aim of this work is to show the narrative mechanisms and functions within the video game industry, commenting on the first titles that were created and the subsequent evolution of storytelling. Also, It will analyze the particularities between the mechanics of the game and how they fit the narrative to each genre, indicating which are the most popular, which incur more dissonance, author games, as well as those titles that set precedents to create stories in video games. -
Playing in the Continuum: Moral Relativism in the Last of Us
Praxes of popular culture No. 1 - Year 9 12/2018 - LC.7 [sic] - a journal of literature, culture and literary translation Shalini Harilal, English and Foreign Languages University, India ([email protected]) Playing in the Continuum: Moral Relativism in The Last of Us Abstract Contrary to common understanding that an objective is a distinctive feature of every game, the success of process-oriented games (Nielson et al.) shows that linear narratives are not the only way to tell game stories. The Last of Us , despite being a goal-oriented video game, undermines the focus on its objective of “saving humanity” by refusing to let the player fulfil that goal. Saving humanity is a “noble” sentiment that is not only a “universal” moral value but one of import from a biological standpoint. This paper argues that the game’s insistence on making “questionable” choices on behalf of the player and its depiction of a selection of contrasting social structures are a narrative ruse to unsettle ethical complacencies of the generic player, who brings to the game such moral systems to analyze the game as are incompatible with its temporal and spatial specificity. The question of the admissibility of textual analyses based on external moral parameters is of relevance not exclusively to literary studies but to narratives in new audio-visual media as well. This paper attempts to place player reactions to the questionable character choices at the heart of the game story in a continuum between absolute player identification with narrative elements and complete detachment from the game narrative which facilitates play in an objective manner. -
Recommended Resources from Fortugno
How Games Tell Stories with Nick Fortugno RECOMMENDED RESOURCES FROM NICK FORTUGNO Articles & Books ● MDA: A Formal Approach to Game Design and Game Research ● Rules of Play Game Textbook ● Game Design Workshop Textbook ● Flow: The Psychology of Optimal Experience Festivals ● Come Out and Play Festival Games ● The Waiting Game at ProPublica ● Rez ● Fallout 4 ● Red Dead Redemption 2 ● Dys4ia ● The Last of Us ● Shadow of the Colossus ● Kentucky Route Zero ● Gone Home ● Amnesia ● Pandemic: Legacy ● Once Upon A Time A SELECTION OF SUNDANCE NEW FRONTIER ALUMNI / SUPPORTED PROJECTS About New Frontier: New Frontier: Storytelling at the Intersection of Art & Technology ● Walden ● 1979 Revolution ● Laura Yilmaz ● Thin Air OTHER GAMING RESOURCES ● NYU Game Center - dedicated to the exploration of games as a cultural form and game design as creative practice ● Columbia Digital Storytelling Lab - focusing on a diverse range of creative and research practices originating in fields from the arts, humanities and technology 1 OTHER GAMING RESOURCES continued ● Kotaku - gaming reviews, news, tips and more ● Steam platform indie tag - the destination for playing, discussing, and creating games ● IndieCade Festival - International festival website committed to celebrating independent interactive games and media from around the globe ● Games for Change - the leading global advocate for the games as drivers of social impact ● Immerse - digest of nonfiction storytelling in emerging media ● Emily Short's Interactive Storytelling - essays and reviews on narrative in games and new media ● The Art of Storytelling in Gaming - blog post 2 . -
The Art of the Uncharted Trilogy Ebook
THE ART OF THE UNCHARTED TRILOGY PDF, EPUB, EBOOK Naughty Dog | 240 pages | 17 Jun 2016 | DARK HORSE COMICS | 9781616554873 | English | Milwaukee, United States The Art Of The Uncharted Trilogy PDF Book The Art of Mirror s Edge Catalyst. Illustrations 1 Illustrations, unspecified. A masterfully designed hardcover collecting over pages of art and commentary from the creators of the brutal and thrilling Days Gone! This volume, compiled in honour of Prof. The Art of ReCore 0. In Solar Dance, acclaimed writer and scholar Modris Eksteins uses Vincent van Gogh as his lens for this brilliant survey of Western culture and politics in the last century. A marriage ended, and gave way to a furious competition for dominance in Canadian art. Yet dangers lurk in this ocean of 1s and 0s—threats to privacy and the specter of ubiquitous government surveillance. Search for: Search. I've included a few different types of art in the gallery, from rough pieces simply outlining the general setting and mood to detailed environmental designs to the 3D models that essentially "play" the role of Drake and co. Overige kenmerken Verpakking hoogte 22 mm. Disasters are compounded when the ship is sabotaged by an enemy agent, and Jean-Claude is separated from the expedition. Wat ik vooral goed vind: Toegankelijk, Praktisch, Compleet. It can be used anywhere in the world to help deal with the increasing uncertainty and complexity for the next millennium and can also be used as a framework for economic policy. Best Books Mrs. Send Feedback If you think we've made a mistake or omitted details, please send us your feedback. -
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. -
The Last of Us Honored with 10 Awards Including Game of the Year at 17Th Annual D.I.C.E
THE LAST OF US HONORED WITH 10 AWARDS INCLUDING GAME OF THE YEAR AT 17TH ANNUAL D.I.C.E. AWARDS Top Honors Celebrating the Creative Accomplishments in Interactive Entertainment Also Went to Bioshock Infinite, Grand Theft Auto V, Plants vs. Zombies 2, and More LAS VEGAS – Feb. 6, 2014 – Suspense, horror, and surreal worlds dominated the 17th Annual D.I.C.E. Awards, the video game industry’s most prestigious honors. Naughty Dog’s dystopian, post-apocalyptic reimagining of the zombie thriller, The Last Of Us, stole the show with 10 awards, including Outstanding Achievement in Story, Outstanding Innovation in Gaming, Adventure Game of the Year, Outstanding Achievement in Game Direction and the industry’s top honor, Game of the Year. The evening’s other big winners included Irrational Games’ provocative alternate-historical FPS, Bioshock Infinite, which took home Action Game of the Year and Outstanding Achievement in Original Music Composition. PopCap’s runaway mobile hit Plants vs. Zombies 2 won both Casual Game of the Year and Mobile Game of the Year, while EA Canada’s FIFA 14 continued the FIFA franchise’s run of five consecutive wins with Sports Game of the Year. Brothers – A Tale of Two Sons, Starbreeze Studios’ touching, story-driven adventure, took home the hardware for Downloadable Game of the Year. Wargaming’s multiplayer online game World of Tanks took home the honor for the D.I.C.E. Awards’ newest category, Online Game of the Year. “Tonight’s big winner, The Last of Us, is a prime example of how today’s modern video game studios expertly blend art, game play, and storytelling to transcend the traditional notion of video games,” said Martin Rae, president, Academy of Interactive Arts & Sciences. -
Ellie: Buddy AI in the Last of Us
35 Ellie: Buddy AI in The Last of Us Max Dyckhoff 35.1 Introduction 35.5 Combat Utility 35.2 Starting from Scratch 35.6 Armed Combat 35.3 Ambient Following 35.7 Finishing Touches 35.4 Taking Cover 35.8 Conclusion 35.1 Introduction In the last couple of chapters, you have read about the hunter and infected AI from Naughty Dog’s third-person action adventure game The Last of Us. This chapter moves on to discuss the buddy AI. The whole game focuses on relationships between characters and none more strongly than that of Ellie and Joel, the player’s avatar. Ellie accompanies the player throughout most of the game, and we needed the player to love her companionship. We were acutely aware of the common pitfalls with AI companions: the risk of them turning into a tedious “escort” quest, generally getting underfoot, or turning into mindless drones with no agency in the world. We had to make sure that Ellie never annoyed or frustrated the player and that she remained a compelling entity throughout the game. Most importantly, we had to build a character that the player cared for. Ellie is new to the world outside the military safe zone in which she grew up and new to the brutality and violence of the infected and humanity at large. She is seeing landscapes, cities, and actions as the player would, instead of through the world weary eyes of Joel. She is a young and fragile character in a dangerous world, and we wanted the AI to highlight this as well as support her growth and strength later in the game. -
Gaming and Esports: the Next Generation
VIDEO GAMING & ESPORTS GAMING AND ESPORTS: THE NEXT GENERATION YouGov analysis of the global video games and esports landscape yougov.com CONTENTS 04 Introduction 11 PlayStation, Xbox and the ninth generation of gaming consoles 20 Gaming video content and streaming 26 The global esports market 34 Deep dive: hardcore gamers in the US 40 COVID-19 and the future of gaming 42 COVID case study: Minecraft 44 The next level 46 Our data INTRODUCTION With the arrival of the next generation of consoles, the release of major titles such as The Last of Us: Part II and Marvel’s Avengers, and new entries into the competitive multiplayer landscape such as Valorant, journalists and analysts predicted that 2020 would be an important year for the gaming and esports industries. Thanks to COVID-19, they were more right than they knew. Data from YouGov shows that on average, four in ten gamers have been playing more during the coronavirus outbreak than they were last year. Compared to last year, how much more or less are you playing video games on any device (PC, console, mobile/tablet, etc.), during the COVID-19 outbreak? Frequency Australia Germany Singapore UK US More 44% 31% 47% 43% 40% About the same 40% 52% 32% 42% 42% Less 11% 8% 12% 8% 11% Don’t know 5% 8% 9% 7% 7% Beyond the pandemic, gaming’s success in 2020 have conducted an extended ‘deep dive’ survey to is an extension of its increasing significance as gain a deeper understanding of the preferences a force in worldwide entertainment: one with and behaviours of gamers – whether they play on revenues that comfortably exceed those of the mobile devices, consoles, or PCs, and whether global film, TV, and digital music industries. -
Read Ebook {PDF EPUB} Never Enough by Ashley Johnson "Never Enough" Lyrics
Read Ebook {PDF EPUB} Never Enough by Ashley Johnson "Never Enough" lyrics. I'm tryin' to hold my breath Let it stay this way Can't let this moment end You set off a dream in me Gettin' louder now Can you hear it echoing? Take my hand Will you share this with me? 'Cause darling without you. All the shine of a thousand spotlights All the stars we steal from the night sky Will never be enough Never be enough Towers of gold are still too little These hands could hold the world but it'll Never be enough Never be enough. For me Never, never Never, never Never, for me For me Never enough Never enough Never enough For me For me For me. All the shine of a thousand spotlights All the stars we steal from the night sky Will never be enough Never be enough Towers of gold are still too little These hands could hold the world but it'll Never be enough Never be enough. For me Never, never Never, never Never, for me For me Never enough Never, never Never enough Never, never Never enough For me For me For me. Ashley Johnson Biography. Ashley Suzanne Johnson is a singer, voice actress and actress of American nationality who was born in Camarillo, California. She has been known for her portrayal of Chrissy Seaver in Growing Pains and as Mel Gibson in What Women Want. She has been active in the entertainment fraternity since 1990 and started her career as a guest actress for several hit TV series. -
MEROO NO 1 Joel Miller
E E N U I T G A V E V A N M E R O O . B E THE LAST OF US "Er is altijd wel iets om voor te vechten" JOEL MILLER No. 1 INTROO THE FIRST OF US Een magazine uitbrengen vraagt tijd, lef, maar vooral heel veel geld. Tenzij je het op de digitale wijze doet, natuurlijk. Wij hebben daarom bewust gekozen om HEROO louter digitaal te verspreiden. Een handig PDF'je, netjes vormgegeven, dat te downloaden is door een druk op de knop en bovenal helemaal gratis is. Omdat het in de meeste gevallen op een computerscherm gelezen zal worden (print het gerust uit), vonden we het belangrijk dat het in één adem uit te lezen is. We bieden in HEROO ruimte aan één superheld per maand. Je leest er een diepgaand interview of een biografie over iemand die de heldenstatus waardig is. We openen met Joel Miller, een fictief personage uit de videogame The Last of Us. In de volgende nummers zullen we iemand van vlees en bloed uitlichten. Iemand die iets betekent voor de mensheid of voor de lokale gemeenschap. Bedankt! En veel plezier met de allereerste editie van HEROO. Pieter Kesselaers hoofdredacteur MEROO I STRUGGLED FOR A LONG TIME WITH SURVIVIN', AND NO MATTER WHAT, YOU KEEP FINDING SOMETHING TO FIGHT FOR. Joel Miller BIOO DE LAATSTE ZAL DE EERSTE ZIJN W E K U N N E N N I E T M E E R T E L L E N H O E V A A K D E G A M E W E R E L D A L G E R E D I S V A N E E N T O T A L E O N D E R G A N G .