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Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2 2015
Repositorium für die Medienwissenschaft Jennifer deWinter; Carly A. Kocurek Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2 2015 https://doi.org/10.25969/mediarep/14996 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: deWinter, Jennifer; Kocurek, Carly A.: Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2. In: Thomas Hensel, Britta Neitzel, Rolf F. Nohr (Hg.): »The cake is a lie!« Polyperspektivische Betrachtungen des Computerspiels am Beispiel von PORTAL. Münster: LIT 2015, S. 31– 48. DOI: https://doi.org/10.25969/mediarep/14996. Erstmalig hier erschienen / Initial publication here: http://nuetzliche-bilder.de/bilder/wp-content/uploads/2020/10/Hensel_Neitzel_Nohr_Portal_Onlienausgabe.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Weitergabe unter Attribution - Non Commercial - Share Alike 3.0/ License. For more gleichen Bedingungen 3.0/ Lizenz zur Verfügung gestellt. Nähere information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by-nc-sa/3.0/ http://creativecommons.org/licenses/by-nc-sa/3.0/ Jennifer deWinter / Carly A. Kocurek Chell Game: Representation, Identification, and Racial Ambiguity in ›Portal‹ and ›Portal 2‹ Chell stands in a corner facing a portal, then takes aim at the adjacent wall with the Aperture Science Handheld Portal Device. Between the two portals, one ringed in blue, one ringed in orange, Chell is revealed, reflected in both. And, so, we, the player, see Chell. She is a young woman with a ponytail, wearing an orange jumpsuit pulled down to her waist and an Aperture Science-branded white tank top. -
Exploring the Experiences of Gamers Playing As Multiple First-Person Video Game Protagonists in Halo 3: ODST’S Single-Player Narrative
Exploring the experiences of gamers playing as multiple first-person video game protagonists in Halo 3: ODST’s single-player narrative Richard Alexander Meyers Bachelor of Arts Submitted in fulfilment of the requirement for the degree of Master of Arts (Research) School of Creative Practice Creative Industries Faculty Queensland University of Technology 2018 Keywords First-Person Shooter (FPS), Halo 3: ODST, Interpretive Phenomenological Analysis (IPA), ludus, paidia, phenomenology, video games. i Abstract This thesis explores the experiences of gamers playing as multiple first-person video game protagonists in Halo 3: ODST, with a view to formulating an understanding of player experience for the benefit of video game theorists and industry developers. A significant number of contemporary console-based video games are coming to be characterised by multiple playable characters within a game’s narrative. The experience of playing as more than one video game character in a single narrative has been identified as an under-explored area in the academic literature to date. An empirical research study was conducted to explore the experiences of a small group of gamers playing through Halo 3: ODST’s single-player narrative. Interpretive Phenomenological Analysis (IPA) was used as a methodology particularly suited to exploring a new or unexplored area of research and one which provides a nuanced understanding of a small number of people experiencing a phenomenon such as, in this case, playing a video game. Data were gathered from three participants through experience journals and subsequently through two semi- structured interviews. The findings in relation to participants’ experiences of Halo 3: ODST’s narrative were able to be categorised into three interrelated narrative elements: visual imagery and world-building, sound and music, and character. -
Motherhood: Designing Silent Player Characters for Storytelling
Motherhood: Designing Silent Player Characters for Storytelling Extended Abstract Bria Mears Jichen Zhu Drexel University Drexel University 3141 Chestnut St 3141 Chestnut St Philadelphia, Pennsylvania 19104 Philadelphia, Pennsylvania 19104 [email protected] [email protected] ABSTRACT a list of methods designers can use to eectively communicate a e silent player character (SPC) is a reoccurring but not well- SPC’s story. ird, we developed Motherhood, a short narrative understood type of player character in narrative-driven games. In experience featuring a SPC that exemplies how our found pat- this paper, we present how our ndings from an analysis of SPC terns can be implemented into a game’s design to communicate development have been exemplied in an interactive narrative a pre-dened SPC. Motherhood was built to evaluate the paerns experience. e ndings presented in this study were approved as developed in this study. a FDG’17 poster submission. First, we identify two main types of SPCs: projective and expressive characters. Second, we synthesized 2 RELATED WORK a list of methods designers can use to eectively communicate A traditional silent protagonist is oen linked with the term “avatar” a SPC’s story. ird, we present Motherhood, a short narrative - dened as “a player’s embodiment in the game” [2, 3]; in other experience featuring the development of a pre-dened SPC. words, the “blank canvas” PC. In the early days of digital games, CCS CONCEPTS game characters were lile more than generic gures that lacked both personality and depth in their design [9] and players played •So ware and its engineering ! Interactive games; •Applied through the game [1], focusing on their ludic goals, rather than computing ! Computer games; taking an interest in the avatar itself. -
PT, Freud, and Psychological Horror
Press Start Silent Halls Silent Halls: P.T., Freud, and Psychological Horror Anna Maria Kalinowski York University, Toronto Abstract “What is a ghost?” “An emotion, a terrible moment condemned to repeat itself over and over…” —The Devil’s Backbone (Del Toro, 2001) This paper analyses P.T. (Kojima Productions, 2014), a playable teaser made to demo a planned instalment within the Silent Hill franchise. While the game is now indefinitely cancelled, P.T. has cemented itself not only as a full gaming experience, but also as a juggernaut in the genre of psychological horror. Drawing from Sigmund Freud’s concept of the uncanny, the aim of the paper is to address how these psychological concepts surface within the now infamous never-ending hallway of P.T. and create a deeply psychologically horrifying experience. Keywords psychological horror; the uncanny; Freud; game design; Press Start 2019 | Volume 5 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Kalinowski Silent Halls Introduction The genre of psychological horror is a complex one to navigate through with ease, especially for those that are faint of heart. Despite its contemporary popularity, when the sub-genre first began to emerge within horror films, it was considered to be a detriment to the horror genre (Jancovich, 2010, p. 47). The term ‘psychological’ was often used to disguise the taming of horror elements instead of pushing the genre into more terrifying territories. -
The Cauldron 2015
Mikaela Liotta, Cake Head Man, mixed media The Cauldron Senior Editors Grace Jaewon Yoo Muriel Leung Liam Nadire Staff Pann Boonbaichaiyapruck Phoebe Danaher Daniel Fung 2015 Sally Jee Prim Sirisuwannatash Angela Wong Melissa Yukseloglu Faculty Advisor Joseph McDonough 1 Poetry Emma Woodberry Remember 5 GyuHui Hwang Two Buttons Undone 6 Khanh Nyguen I Wait for You to Have Dinner 8 Angela Wong Euphoria 9 Sabi Benedicto The House was Supposed to be Tan 12 (But was Accidentally Painted Yellow) Canvas Li Haze 15 Adam Jolly Spruce and Hemlock Placed By 44 Gentle Hands Jordan Moller The Burning Cold 17 Grace Jaewon Yoo May 18 Silent Hills 40 Lindsay Wallace Forgotten 27 Joelle Troiano Flicker 30 Jack Bilbrough Untitled 31 Valentina Mathis A Hop Skip 32 Jessica Li The Passenger 36 Daddy’s Girl 43 Eugenia Rose stumps 38 Brandon Fong Ironing 47 Ryder Sammons Mixed Media, Ceramics New Year’s Cold 48 Mikaela Liotta Shayla Lamb Spine 7 Senior Year 50 Mermaid 46 Teddy Simson Elephant Skull 16 Prose Eye of the Tiger 53 Muriel Leung Katie I A Great River 20 Imagination 19 Zorte 52 Sabi Benedicto Geniophobia 32 2 Photography Rachel Choe More Please 8 Pann Boonbaichaiyapruck DEAD 2 Spin 12 Swimmingtotheschor 22 Bigfernfloating 41 Lydia Stenflo LA as seen from the 14 Griffith Observatory at Night in March Beach Warrior 58 Meimi Zhu Reflection 30 Jessica Li Juvenescence 37 The Last Door 42 Brandon Fong The End is Neigh 38 Sunday in Menemsha 53 Liam Nadire Hurricane Sandy #22 47 Pride 58 Painting, Drawing Katie I Risen 4 Oban Galbraith The Divide 9 Joni Leung -
P.T Game Pc Download Punity
p.t game pc download Punity. Punity is the Windows adaptation of the brilliant game P.T., the Silent Hills technical demo by Hideo Kojima and Guillermo del Toro that so thoroughly amazed and terrified players on Playstation 4. In this tribute to the Konami classic, players walk through the legendary terrifying hallway. The game system in Punity is very similar to the original P.T. Players can walk up and down the sinister hallway and take in all the details. The sounds, bumps, and strange movements you'll start noticing are what make this game amazing. The game has very similar graphics to the technical demo mentioned earlier. Most surprisingly, it uses the versatile motor Unity, so if you have a powerful operating system and can set the graphics at the highest settings, you'll be able to enjoy this spectacular terror even more. Silent Hills' P.T. teaser is now playable on PC thanks to fan remakes. P.T. was the playable teaser for Silent Hills—the reboot of the Silent Hill series that was cancelled in 2015—and even though it was short it still ranks among the best horror games of all time (and certainly one of the scariest). It never made it to PC, but thanks to a couple of fan remakes you can now give it a whirl on your mouse and keyboard. The first remake is called Corridors, and is a recreation of the game in Unreal Engine 4. It's still very much a work in progress (expect bugs), and creator SmoggyChips plans to update it with more levels in the future. -
The Heroic Journey of a Villain
Háskóli Íslands Hugvísindasvið Enska The Heroic Journey of a Villain The Lost and Found Humanity of an Artificial Intelligence Ritgerð til MA-prófs í Ensku Ásta Karen Ólafsdóttir Kt.: 150390-2499 Leiðbeinandi: Guðrún B. Guðsteinsdóttir Maí 2017 Abstract In this essay, we will look at the villain of the Portal franchise, the artificial intelligence GLaDOS, in context with Maureen Murdock’s theory of the “Heroine’s Journey,” from her book The Heroine’s Journey: Woman’s Quest for Wholeness. The essay argues that although GLaDOS is not a heroine in the conventional sense, she is just as important of a figure in the franchise as its protagonist, Chell. GLaDOS acts both as the first game’s narrator and villain, as she runs the Aperture Science Enrichment Center where the games take place. Unlike Chell, GLaDOS is a speaking character with a complex backstory and goes through real character development as the franchise’s story progresses. The essay is divided into four chapters, a short history of women’s part as characters in video games, an introduction to Murdock’s “The Heroine’s Journey,” and its context to John Campbell’s “The Hero’s Journey,” a chapter on the Portal franchises, and then we go through “The Heroine’s Journey,” in regards to GLaDOS, and each step in its own subchapter. Our main focus will be on the second installment in the series, Portal 2. Since, in that game, GLaDOS goes through most of her heroine’s journey. In the first game, Portal, GLaDOS separates from her femininity and embraces the masculine, causing her fractured psyche, and as the player goes through Portal 2 along with her, she reclaims her femininity, finds her inner masculinity, and regains wholeness. -
The Impact of Video Game Interactivity on the Narrative
THE IMPACT OF VIDEO GAME INTERACTIVITY ON THE NARRATIVE CAMERON EDMOND (BA) MACQUARIE UNIVERSITY FACULTY OF ARTS DEPARTMENT OF ENGLISH OCTOBER 2015 This thesis is presented in partial fulfilment of the requirements of the degree of Master of Research at Macquarie University. I certify that this thesis is entirely my own work and that I have given fully documented reference to the work of others. The thesis has not previously, in part or in whole, been submitted for assessment in any formal course of study. Signed: (Cameron Edmond) Contents Summary...................................................................................................................................7 Acknowledgements...................................................................................................................9 Introduction............................................................................................................................11 Chapter 1 – The Player-Hero: A Hollow Sphere................................................................25 Chapter 2 – The NPC Goddess: A Bridge Between Spheres..............................................43 Chapter 3 – The Game World: The Ultimate Controller of Interactivity........................59 Conclusion...............................................................................................................................75 Works Cited............................................................................................................................79 Appendix…….........................................................................................................................87 -
Machinima As Digital Agency and Growing Commercial Incorporation
A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Megan R. Brown December 2012 © 2012 Megan R. Brown. All Rights Reserved 2 This thesis titled A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation by MEGAN R. BROWN has been approved for the School of Film and the College of Fine Arts by Louis-Georges Schwartz Associate Professor of Film Studies Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT BROWN, MEGAN R., M.A., December 2012, Film Studies A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation (128 pp.) Director of Thesis: Louis-Georges Schwartz. This thesis traces machinima, films created in real-time from videogame engines, from the exterior toward the interior, focusing on the manner in which the medium functions as a tool for marginalized expression in the face of commercial and corporate inclusion. I contextualize machinima in three distinct contexts: first, machinima as historiography, which allows its minority creators to articulate and distribute their interpretation of national and international events without mass media interference. Second, machinima as a form of fan fiction, in which filmmakers blur the line between consumers and producers, a feature which is slowly being warped as videogame studios begin to incorporate machinima into marketing techniques. Finally, the comparison between psychoanalytic film theory, which explains the psychological motivations behind cinema's appeal, applied to videogames and their resulting machinima, which knowingly disregard established theory and create agency through parody. -
Restless Dreams and Shattered Memories: Psychoanalysis and Silent Hill
B R U M A L Revista de Investigación sobre lo Fantástico DOI: http://dx.doi.org/10.5565/rev/brumal.182 Research Journal on the Fantastic Vol. III, n.° 1 (primavera/spring 2015), pp. 161-182, ISSN: 2014–7910 RESTLESS DREAMS AND SHATTERED MEMORIES: PSYCHOANALYSIS AND SILENT HILL Ewan Kirkland University of Brighton [email protected] Recibido: 25-01-2015 Aceptado: 18-05-2015 Abstract This paper applies psychoanalytic frameworks to the survival horror franchise Silent Hill, a series which is itself informed by psychoanalytic themes. Concerns include the construction of game space as maternal womb, cinematic sequences as primal fanta- sies, and the representation of memory across the games within a psychoanalytic con- text. The horror genres’ preoccupation with monstrous mother figures is evident in boss battle adversaries, the depiction of gamespaces as bloody «maternal caves», and in narratives concerning characters’ searching for their parental origins Distinguishing between videogames’ playable sequences and cinematics as conscious and sub-con- scious aspects, cut-scenes are analysed as reproducing primal fantasies, serving to ex- plain protagonists’ backstory and situating play within narrative contexts. Such mo- ments intrude into the game, marking transformations between the ordinary world and the abject Otherworld, or heralding the emergence of psychoanalytically-resonant monstrous creatures which the protagonist must destroy. Finally, Silent Hill: Shattered Memories is examined as a game which, even more than others, foregrounds the series’ explicit reference to psychoanalytic preoccupations, engaging with contemporary un- derstandings concerning the relationship between memory, media and fantasy. Keywords: Silent Hill, survival horror, psychoanalysis, videogames, memory. Resumen En el presente artículo se aplica el marco de estudio psicoanalítico a la serie de survival horror Silent Hill, ella misma basada en temas psicoanalíticos. -
The Foundations of Song Bird
Running head: THE FOUNDATIONS OF SONG BIRD GENDER SPECTRUM NEUTRALITY AND THE EFFECT OF GENDER DICHOTOMY WITHIN VIDEO GAME DESIGN AS CONCEPTUALIZED IN: THE FOUNDATIONS OF SONG BIRD A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS BY CALEB JOHN NOFFSINGER DR. MICHAEL LEE – ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2018 THE FOUNDATIONS OF SONG BIRD 2 ABSTRACT Song Bird is an original creative project proposed and designed by Caleb Noffsinger at Ball State University for the fulfillment of a master’s degree in Telecommunication: Digital Storytelling. The world that will be established is a high fantasy world in which humans have risen to a point that they don’t need the protection of their deities and seek to hunt them down as their ultimate test of skill. This thesis focuses more so on the design of the primary character, Val, and the concept of gender neutrality as portrayed by video game culture. This paper will also showcase world building, character designs for the supporting cast, and examples of character models as examples. The hope is to use this as a framework for continued progress and as an example of how the video game industry can further include previously alienated communities. THE FOUNDATIONS OF SONG BIRD 3 TABLE OF CONTENTS Introduction . 4 Chapter 1: Literature Review. 8 Chapter 2: Ludology vs. Narratology . .14 Chapter 3: Song Bird, the Narrative, and How I Got Here. 18 Chapter 4: A World of Problems . 24 Chapter 5: The World of Dichotomous Gaming: The Gender-Neutral Character . -
Identity Creation and World-Building Through Discourse in Video Game Narratives
Syracuse University SURFACE Dissertations - ALL SURFACE 7-1-2016 Identity Creation and World-Building Through Discourse in Video Game Narratives Barbara Jedruszczak Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Arts and Humanities Commons Recommended Citation Jedruszczak, Barbara, "Identity Creation and World-Building Through Discourse in Video Game Narratives" (2016). Dissertations - ALL. 500. https://surface.syr.edu/etd/500 This Thesis is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. ABSTRACT An exploration of how characters develop identity through language use in a video game’s narrative, specifically in video games that do not allow for players to make narrative-altering choices. The concept of literacies is used to create a critical framework through which to view video games themselves as a literacy, as well as to view them as a discourse. This thesis analyzes how dialogue is used to develop and showcase gender, sexuality, personality, moral identity in characters in and out of the player’s control, as well as how dialogue builds the narrative world in which these characters exist. This thesis includes two case studies, on the Borderlands video game series and the Halo video game series, approaching each series from a perspective that showcases how its unique world and characters are created through language. Each series has a specific facet to its narrative that is examined in depth; in the Borderlands series, the importance of storytelling to world-building and moral identity, and in the Halo series, the significance of speech itself as an act.