Identity Transformation and Agency in Digital Narratives and Story Based Games

Total Page:16

File Type:pdf, Size:1020Kb

Identity Transformation and Agency in Digital Narratives and Story Based Games Identity Transformation and Agency in Digital Narratives and Story Based Games by Joshua Glen Tanenbaum M.A. (Interactive Arts and Technology), Simon Fraser University, 2008 B.A., University of Redlands, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Interactive Arts and Technology Faculty of Communication, Art, and Technology Joshua Glen Tanenbaum 2015 SIMON FRASER UNIVERSITY Spring 2015 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Joshua Tanenbaum Degree: Doctor of Philosophy Title of Thesis: Identity Transformation and Agency in Digital Narratives and Story Based Games Examining Committee: Chair: Steve DiPaola, Associate Professor Alissa N. Antle Senior Supervisor Associate Professor Jim Bizzocchi Co- Supervisor Associate Professor Dene Grigar Supervisor Associate Professor, Digital Technology and Culture Program, Washington State University Richard Smith Internal Examiner Professor, Communications, SFU Margaret MacKey External Examiner Professor, School of Library and Information Studies, University of Alberta Date Defended/Approved: March 13, 2015 ii Partial Copyright Licence iii Ethics Statement iv Abstract In this dissertation I propose a reimagining of two of the central pleasures of digital media: Agency and Transformation. The first of these pleasures – Agency – is a concept that has received significant attention in the discourse around games and storytelling. The second pleasure – Transformation – has received comparatively little deep investigation. In this work I will first undertake to map the territory of the discourse surrounding these two central concepts, returning first to the foundational work of Janet Murray (Murray, 1997), and then expanding my discussion to incorporate a wide range of theoretical perspectives from the different disciplines surrounding game studies. I argue that agency has been systematically misconstrued within the digital games and interactive digital storytelling communities in ways that overlook the core pleasure of agentic action within a narrative. To reframe agency, I draw on theories of communication and speech act theory to build a new understanding of how the pleasures of agency operate within a participatory narrative. This new approach to agency illuminates the ways in which the pleasures of enacting narratively meaningful moments in a game are equal to or greater than the pleasures of unrestricted action in a simulated world. I then turn my attention to transformation. I argue that understanding the pleasures of transformation can profoundly alter how we imagine, analyse, and design digital narratives. In order to build a robust theory of transformation, I turn to a field of study where identity transformation is a central concern: the dramatic arts. Drawing heavily on theories from Method acting, I identify a core poetics of transformation for digital stories. This new understanding of transformation highlights the importance of external frameworks of meaning (such as narrative scripts, rules, and goals) in guiding and supporting the enactments of a player in a story. I ground these two theoretical lenses in a close reading of the Mass Effect trilogy of story based games, from which I derive a framework of design poetics for digital narrative. Keywords: Digital Narrative; Game Studies; Agency; Transformation; Hermeneutics; Dramatic Arts v Dedication For Karen, (soon-to-be) mother of my child and companion and collaborator in all things. vi Acknowledgements A work of this size is an incredibly isolating and personal creation, but it’s also the product of a community of scholarship and a network of support. I’m perpetually indebted to the family, friends, colleagues, and mentors who have kept me sane through most of this process and listened to me rave when sanity wasn’t a possibility anymore. I’m deeply thankful to the cohort of students and researchers at the School of Interactive Arts + Technology, whose perspectives and insight shaped my thinking in countless, indescribable ways: Allen Bevans, Nis Bojin, Lorna Boschman, Kristin Carlson, Greg Corness, Ying Deng, Audrey Desjardins, Evan Dickenson, Milena Droumeva, Wendy Foster, Natalie Funk, Kirsten Johnson, David “Jhave” Johnston, Jo Jorgenson, Elizabeth LaPensee, Aaron Levisohn, Diego Maranan, Michelle Nilsson Levisohn, Anna Macaranas, Maryam Maleki, Angela Melgaard, David Milam, Vicki Moulder, Dinara Moura, Kevin Muise, Michael Nixon, Johnny Rogers, Jinsil Hwaryoung Seo, Roham Sheikholeslami, Jack Stockholm, Jeremy Owen Turner, Ben Unterman, Jeffrey Ventrella, Sijie Wang, Jillian Warren, Huaxin Wei and Veronica Zammitto. I’m grateful to my extended family of colleagues and collaborators who have taught, supported, encouraged, and inspired me: Dominic Arsenault, Jeffrey Bardzell, Shaowen Bardzell, Timothy Burke, Tom Calvert, James Carrott, Mark Chen, Sharon Chu, Elizabeth Churchill, Kate Compton, Mia Consalvo, Chris Crawford, Drew Davidson, Julian Dibbell, Steve DiPaola, Paul Dourish, Chris Eaket, Eric Ellis, Corvus Elrod, Jacob Garbe, Isa Gordon, Gillian Hayes, Garnet Hertz, Ian Horswill, Katherine Isbister, Hiroshi Ishii, Eric Kabisch, Aaron Kashtan, Jofish Kaye, Squinky Kiai, Noam Knoller, Elizabeth Lawley, Jason Lewis, Michael Mateas, Josh McCoy, Joshua McVeigh-Schultz, Jay Melican, Janet Murray, Bonnie Nardi, David Nguyen, Celia Pearce, Cindy Poremba, Francis Quek, Matt Ratto, Aaron Reed, Daniela Rosner, Benjamin Samuel, Thecla Schiphorst, Tawny Schlieski, Magy Seif El Nasr, Mei Si, Bart Simon, Gillian Smith, Anne Sullivan, T.L. Taylor, David Thue, Andre van der Hoek Janet Vertesi, Ron Wakkary, Noah Wardrip-Fruin, Amanda Williams, and Moses Wolfenstein. I’m also indebted to the efforts of an extraordinary and largely anonymous community of fans and volunteers who collectively create and maintain the Mass Effect Wiki online, vii without whom I would have been lost at sea many times during the writing of this dissertation. My parents, Ronald and Annette: your support and encouragement throughout the odyssey of graduate research has never wavered, and I cannot express how much I love you and appreciate the opportunities that you have provided me throughout my life. To my chosen family, David Leitch, Laura Wimberley, Spring Strahm, and Ian Luster, you have opened the door, broken the ice, and illuminated the path. You have been role models, inspirations, bastions of strength, and the finest friends anyone could hope to have. I have been blessed with unparalleled mentorship in my scholarly career. I am deeply indebted to the intellectual generosity and support of my external examiner Margaret Mackey and my “internal external” examiner Richard Smith: thank you for taking the time to engage with my work, for pushing me in interesting directions, and for contributing your time and expertise to this project. My third committee member Dene Grigar has provided remarkable insight from the world of electronic literature, elevating my understanding and challenging me to examine some long held assumptions about the field. My two senior supervisors Jim Bizzocchi and Alissa Antle have guided me and encouraged me and challenged me in ways that beggar the imagination. Thank you Jim for always pushing me when I needed to be pushed and for trusting me when I needed to take some risks: you are my intellectual father in many ways and it has been my honor and privilege to work with you. Thank you Alissa for stepping in when I was flailing and needed help and for teaching me what it means to be rigorous and interdisciplinary at the same time: your example will forever inspire me as I negotiate the murky waters of my academic career. Finally, Karen Tanenbaum: you make it all worth it! You make me excited to take on new adventures and challenges and you keep me honest when that excitement carries me away. You are unique, brilliant, intense, and inspiring and I can’t wait to see how our next magnificent collaboration turns out! viii Table of Contents Approval .............................................................................................................................ii Partial Copyright Licence .................................................................................................. iii Ethics Statement ...............................................................................................................iv Abstract ............................................................................................................................. v Dedication .........................................................................................................................vi Acknowledgements .......................................................................................................... vii Table of Contents ..............................................................................................................ix List of Tables ................................................................................................................... xiii List of Figures.................................................................................................................
Recommended publications
  • Timing Interactive Narratives
    Timing Interactive Narratives Thomas Cabioch Ronan Champagnat Anne-Gwenn Bosser Jean-Noel¨ Chiganne Martin Dieguez ENIB – Lab-STICC L3i ENIB – Lab-STICC Incarna ENIB – Lab-STICC Brest, France La Rochelle universite´ Brest, France Paris, France Brest, France [email protected] La Rochelle, France [email protected] [email protected] [email protected] [email protected] Abstract—Research in Computational Narratives has evi- put an emphasis on the underlying structures of narratives. denced the need to provide formal models of narratives inte- The conceptual distinction between the raw material of the grating action representation together with temporal and causal narrative (characters, objects, narrative actions, . ) and the constraints. Adopting an adequate formalization for narrative actions is critical to the development of generative or interactive order and manner in which it is conveyed to the audience systems capable of telling stories whilst ensuring narrative coher- has helped frame a number of approaches in Computational ence, or dynamic adaptation to user interaction. It may also allow Narratives. In this paper, we consider the former, the story (the to verify properties of narratives at design time. In this paper, latter being commonly designated as discourse in IS), follow- we discuss the issues of interactive story design, verification, and ing terminology borrowed from narratologists like Genette [7] piloting for a specific genre of industrial application, in the field of interactive entertainment: in the games we consider, teams of or Chatman [8]. Another important take away from narrative participants in a Virtual Reality application are guided in real theories for research in IS has been the centrality of narrative time through a narrative experience by a human storyteller.
    [Show full text]
  • Mass Effect 2 Unofficial Guide
    SuperCheats.com Unoffical Mass Effect 2 Guide http://www.supercheats.com/guides/mass-effect-2 Check back for updates, videos and comments for this guide. Table of Contents Introduction 2 Character Creation 3 Hacking 5 Getting Started 6 Normandy Prologue 7 Intro 8 Freedom's Progress 15 The Normandy SR2 19 Omega 23 - Recruit the Veteran 24 (DLC Character) - Recruit Archangel 25 - Recruit Professor 35 Mordin Solus Omega Side Quests 43 Recruit The Convict 48 Recruit The rogan 52 Save Horizon 59 Illium 68 Illium Side-Quests 79 Recruit Tali 84 The Collector Ship 91 Loyalty Missions 94 - Miranda: The Prodigal 95 - Jacob: The Gift of Greatness 99 - Jack: Subject Zero 102 - Garrus: Eye for an Eye 105 - Mordin: Old Blood 108 - Grunt: Rite of Passage 113 - Thane: Sins of the Father 117 Samara: The Ardat-Yakshi 119 - Tali: Treason 121 - Zaeed: The Price of Revenge 123 page pnb / nb SuperCheats.com Unoffical Mass Effect 2 Guide http://www.supercheats.com/guides/mass-effect-2 Check back for updates, videos and comments for this guide. Reaper IFF 128 Recruitment: Legion 133 Legion: A House Divided 134 IFF Installation 138 Suicide Mission 139 Normandy Assignments 151 Downloadable Content 169 DLC: Normandy Crash Site 170 DLC: Firewalker MSV Rosalie 172 DLC: Firewalker: Recover Research Data 173 DLC: Firewalker: Artifact Collection 175 DLC: Firewalker: Geth Incursion 177 DLC: Firewalker: Prothean Site 178 DLC: asumi Goto 179 - asumi: Stealing Memory 181 The Citadel 185 Tuchanka 187 Romance 190 Planetary Mining 192 Xbox 360 Achievements 196 page 2 / 201 SuperCheats.com Unoffical Mass Effect 2 Guide http://www.supercheats.com/guides/mass-effect-2 Check back for updates, videos and comments for this guide.
    [Show full text]
  • UNIVERSITY of VAASA School of Marketing And
    UNIVERSITY OF VAASA School of Marketing and Communication Multidisciplinary Master’s Programme in Communication Harri Huusko “Direct intervention is necessary” Interesting character creation through narrative elements in Mass Effect Master’s Thesis in digital media Vaasa 2018 1 TABLE OF CONTENTS IMAGES AND FIGURES 2 ABSTRACT 3 1 INTRODUCTION 5 1.1 Objective 7 1.2 Material 9 1.3 Method 11 2 MASS EFFECT AS A ROLE-PLAYING GAME 13 2.1 Single player role-playing games 13 2.2 The world of Mass Effect 16 3 NARRATOLOGY IN GAME STUDIES 25 3.1 Traditional narratology 26 3.2 Studying game narratives 33 3.2.1 Narrative in role-playing games 39 3.2.2 The narrative appeal of Mass Effect games 45 3.3 Close-reading game narratives 50 4 CHARACTER NARRATIVES IN THE MASS EFFECT SERIES 55 4.1 Commander Shepard 58 4.2 Urdnot Wrex 69 4.3 Tali’Zorah nar Rayaa 74 4.4 Emotional character narratives 80 4.5 The binding of character narratives 84 5 CONCLUSION 88 WORKS CITED 93 2 IMAGES Image 1. First encounter with the ancient Reaper machines. 17 Image 2. Normandy ambushed by an unknown enemy in Mass Effect 2 (2010). 19 Image 3. Commander Shepard floating in space, with air coming out of the suit 20 Image 4. Reapers shown ascending upon the city of Vancouver etc. 22 Image 5. Appearance options for Shepard, as seen in Mass Effect 2 (2010). 60 Image 6. Pre-service history selection in Mass Effect 1 (2007). 61 Image 7. The narrativized interface, as seen in Mass Effect 1 (2007).
    [Show full text]
  • Mass Effect Saga Não Utiliza Destiny Points, Ado- Do De Frio, Calculista E Brutal
    C APÍTULO III 1 TRAÇOS HERÓICOS CAMPAING SOURCEBOOK DBOHR PADAWAN BESSA DM RAFAEL Turian Agent .............................................. 20 Sumário Themes Talent Trees ......................................... 20 Special Theme Talents ...................................... 23 Introdução ...................................................................5 Capítulo III Capítulo I Traços heróicos ................. 25 Espécies ................................... 6 Event Background ........................................ 25 Asari ................................................................. 7 Occupation Background ............................... 26 Drell ................................................................. 8 Planet of Origin Background ....................... 26 Humanos ......................................................... 9 Krogan ........................................................... 10 Traits & Passions ............. 28 Quarian .......................................................... 11 Usando Traits e Passions .............................. 28 Salarian .......................................................... 12 Traits e Passions famosos ............................. 28 Turian ............................................................ 13 Traits e Passions ordinários .......................... 28 Traits .............................................................. 28 Capítulo II Chaste/Lustful ........................................... 30 Classes Heróicas .................15 Energetic/Lazy...........................................
    [Show full text]
  • A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012)
    Copyright by Taehyun Cho 2014 The Thesis Committee for Taehyun Cho Certifies that this is the approved version of the following thesis: A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012) APPROVED BY SUPERVISING COMMITTEE: Supervisor: Charles R. Berg Thomas G. Schatz A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012) by Taehyun Cho, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2014 Dedication To my family who teaches me love. Acknowledgements I would like to give special thanks to my advisor, Professor Berg, for his intellectual guidance and warm support throughout my graduate years. I am also grateful to my thesis committee, Professor Schatz, for providing professional insights as a scholar to advance my work. v Abstract A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989-2012) Taehyun Cho, M.A. The University of Texas at Austin, 2014 Supervisor: Charles R. Berg Although many scholars attempted to define and categorize alternative narratives, a new trend in narrative that has proliferated at the turn of the 21st century, there is no consensus. To understand recent alternative narrative films more comprehensively, another approach using a new perspective may be required. This study used hypertextuality as a new criterion to examine the strategies of alternative narratives, as well as the hypernarrative structure and characteristics in alternative narratives. Using the six types of linkage patterns (linear, hierarchy, hypercube, directed acyclic graph, clumped, and arbitrary links), this study analyzed six recent American fiction films (between 1989 and 2012) that best represent each linkage pattern.
    [Show full text]
  • The Expanding Storyworld: an Intermedial Study of the Mass Effect Novels Jessika Sundin
    Stockholm University Department of Culture and Aesthetics The Expanding Storyworld: An Intermedial Study of the Mass Effect novels Jessika Sundin Master Thesis in Literature (30 ECTS) Master’s Program in Literature (120 ECTS) Supervisor: Christer Johansson Examiner: Per-Olof Mattsson Spring Semester 2018 Abstract This study investigates the previously neglected literary phenomenon of game novels, a genre that is part of the increasing significance that games are having in culture. Intermedial studies is one of the principal fields that examines these types of phenomena, which provides perspectives for understanding the interactions between media. Furthermore, it forms the foundation for this study that analyses the relation between the four novels by Drew Karpyshyn (Mass Effect: Revelation, 2007; Mass Effect: Ascension, 2008; Mass Effect: Retribution, 2010) and William C. Dietz (Mass Effect: Deception, 2012), and the Mass Effect Trilogy. Differences and similarities between the media are delineated using semiotic theories, primarily the concepts of modalities of media and transfers of media characteristics. The thesis further investigates the narrative discourse, and narrative perspectives in the novels and how these instances relate to the transferred characteristics of Mass Effect. Ultimately, the commonly transferred characteristic in the novels is the storyworld, which reveals both differences and similarities between the media. Regardless of any differences, the similarities demonstrate a relationship where the novels expand the storyworld. Keywords: Drew Karpyshyn, William C. Dietz, Mass Effect, BioWare, storyworld, video games, digital games, intermediality, transmediality, narratology, semiotics 2 Table of Contents 1. Introduction ………………………………………………………………………….…. 4 1.1. Survey of the field …………………………………………………………...………..… 5 1.1.1. Novelizations …………………………………………………………….…….……. 5 1.1.2.
    [Show full text]
  • Mass Effect! Action! Drama! War! Romance!
    Story: In the year 2148, explorers on Mars discovered the remains of an ancient spacefaring civilization. In the decades that followed, these mysterious artifacts revealed startling new technologies, enabling travel to the furthest stars. The basis for this incredible technology was a force that controlled the very fabric of space and time. They called it the greatest discovery in human history. The civilizations of the galaxy call it... --------------------------------------------------------------------------------------------------------------------------------------------- Intro: Element Zero! You're going to be hearing that term (or eezo) a lot from now on. It'll be used to justify faster-than-light travel, energy shields, even glowy space psychic people. Why? Because you get to spend the next 10 years in the sci-fi adventure setting of Mass Effect! Action! Drama! War! Romance! You will begin your adventure in the year 2181. For the record, the first Mass Effect takes place in 2183, Mass Effect 2 takes place in 2185, and Mass Effect 3 kicks off in 2186. You get a few years to get yourself ready for the impending Reaper (sentient starship) invasion. You might even be able to stop it yourself. Remember, you probably know information (or can learn it by just reading the Jump) that could save a lot of lives if you can get people to believe you. Cerberus' (human supremacist organization headed by the Illusive Man) antics, the Collectors, all of that information could be resolved with less fuss if you can get the word out to the right people. You'll have to survive though. Good luck with that! Go join up with Shepard, take things into your own hands, or use your information to change the galaxy.
    [Show full text]
  • The Models of Space, Time and Vision in V. Nabokov's Fiction
    Tartu Semiotics Library 5 2 THE MODELS OF SPACE, TIME AND VISION Tartu Semiootika Raamatukogu 5 Тартуская библиотека семиотики 5 Ruumi, aja ja vaate mudelid V. Nabokovi proosas: Narratiivistrateegiad ja kultuurifreimid Marina Grišakova Mодели пространства, времени и зрения в прозе В. Набокова: Нарративные стратегии и культурные фреймы Марина Гришакова University of Tartu The Models of Space, Time and Vision in V. Nabokov’s Fiction: Narrative Strategies and Cultural Frames Marina Grishakova Tartu 2012 4 THE MODELS OF SPACE, TIME AND VISION Edited by Silvi Salupere Series editors: Peeter Torop, Kalevi Kull, Silvi Salupere Address of the editorial office: Department of Semiotics University of Tartu Jakobi St. 2 Tartu 51014, Estonia http://www.ut.ee/SOSE/tsl.htm This publication has been supported by Cultural Endowment of Estonia Department of Literature and the Arts, University of Tampere Cover design: Inna Grishakova Aleksei Gornõi Rauno Thomas Moss Copyright University of Tartu, 2006 ISSN 2228-2149 (online) ISBN 978-9949-32-068-4 (online) Second revised edition available online only. ISSN 1406-4278 (print) ISBN 978–9949–11–306–4 (2006 print edition) Tartu University Press www.tyk.ee In memory of Yuri Lotman, the teacher 6 THE MODELS OF SPACE, TIME AND VISION Table of Contents Acknowledgements ................................................................... 9 Introduction ............................................................................... 11 I. Models and Metaphors..........................................................
    [Show full text]
  • Towards a Crowdsourced Solution for the Authoring Bottleneck in Interactive Narratives
    Heriot-Watt University Towards A Crowdsourced Solution For The Authoring Bottleneck In Interactive Narratives Michael Kriegel April 2015 Submitted for the degree of Doctor of Philosophy in Computer Science on completion of research in the Department of Mathematics, School of Mathematical and Computer Sciences. The copyright in this thesis is owned by the author. Any quotation from the thesis or use of any of the information contained in it must acknowledge this thesis as the source of the quotation or information. Abstract Interactive Storytelling research has produced a wealth of technologies that can be employed to create personalised narrative experiences, in which the audience takes a participating rather than observing role. But so far this technology has not led to the production of large scale playable interactive story experiences that realise the ambitions of the field. One main reason for this state of affairs is the difficulty of authoring interactive stories, a task that requires describing a huge amount of story building blocks in a machine friendly fashion. This is not only technically and conceptually more challenging than traditional narrative authoring but also a scalability problem. This thesis examines the authoring bottleneck through a case study and a literature survey and advocates a solution based on crowdsourcing. Prior work has already shown that combining a large number of example stories collected from crowd workers with a system that merges these contributions into a single interactive story can be an effective way to reduce the authorial burden. As a refinement of such an approach, this thesis introduces the novel concept of Crowd Task Adaptation.
    [Show full text]
  • Discourses of Queer Gender and Sexuality Across Bioware's Mass
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2018-01-26 “But You’re Female!”: Discourses of Queer Gender and Sexuality Across BioWare’s Mass Effect Trilogy Thai, Tina Thai, T. (2018). “But You’re Female!”: Discourses of Queer Gender and Sexuality Across BioWare’s Mass Effect Trilogy (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/5451 http://hdl.handle.net/1880/106370 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY “But You’re Female!”: Discourses of Queer Gender and Sexuality Across BioWare’s Mass Effect Trilogy by Tina Thai A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN COMMUNICATION AND MEDIA STUDIES CALGARY, ALBERTA JANUARY, 2018 © Tina Thai 2018 Abstract BioWare’s highly successful Mass Effect trilogy is one of the most lauded examples of mainstream video games that have incorporated prominent queer representation. In a media landscape that is still navigating marginalized representation in a meaningful way, BioWare has made strides in terms of their depth and quality of queer inclusion since its release. The ways that this inclusion is constructed in all levels of design – from formal game qualities to its storytelling choices – can tell researchers much about how discourses of queerness function, using the game space as a site of discursive operations.
    [Show full text]
  • Reading Between the Lines
    Reading Between the Lines A Narratological Approach to the Deir Alla Inscription Combination I Alexandra Wrathall B.A, (Macquarie University) Submitted in fulfilment of the requirements for the degree of Masters of Research Department of Ancient History, Faculty of Arts Macquarie University, Sydney October 2014. For my mother Patricia and my father Garry. My very first storytellers Thank you for gifting me with the imagination to dream, the courage to pursue and the means to achieve. and To Dr. Stephen Llewelyn, my mentor. Who saw something in me before I saw it myself. For regular meetings and discussions that have formed the highlight of my week, every week, for five years. Your guidance, knowledge and shared passion for the ancient and theoretical are what made this work a reality. Contents Table of Contents Abstract ........................................................................................................................... iii Declaration ...................................................................................................................... iv Acknowledgements .......................................................................................................... v Chapter I ............................................................................................................................... 1 Introduction .......................................................................................................................... 1 1.1 Narratology ................................................................................................................
    [Show full text]
  • Mass Effect! Action! Drama! War! Romance!
    Story: In the year 2148, explorers on Mars discovered the remains of an ancient spacefaring civilization. In the decades that followed, these mysterious artifacts revealed startling new technologies, enabling travel to the furthest stars. The basis for this incredible technology was a force that controlled the very fabric of space and time. They called it the greatest discovery in human history. The civilizations of the galaxy call it... --------------------------------------------------------------------------------------------------------------------------------------------- Intro: Element Zero! You're going to be hearing that term (or eezo) a lot from now on. It'll be used to justify faster-than-light travel, energy shields, even glowy space psychic people. Why? Because you get to spend the next 10 years in the sci-fi adventure setting of Mass Effect! Action! Drama! War! Romance! You will begin your adventure in the year 2181. For the record, the first Mass Effect takes place in 2183, Mass Effect 2 takes place in 2185, and Mass Effect 3 kicks off in 2186. You get a few years to get yourself ready for the impending Reaper (sentient starship) invasion. You might even be able to stop it yourself. Remember, you probably know information (or can learn it by just reading the Jump) that could save a lot of lives if you can get people to believe you. Cerberus' (human supremacist organization headed by the Illusive Man) antics, the Collectors, all of that information could be resolved with less fuss if you can get the word out to the right people. You'll have to survive though. Good luck with that! Go join up with Shepard, take things into your own hands, or use your information to change the galaxy.
    [Show full text]