Examining the Effect of Different Types of Tutorials on New Players of a Compute Science Teaching Game
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The Poetics of Reflection in Digital Games
© Copyright 2019 Terrence E. Schenold The Poetics of Reflection in Digital Games Terrence E. Schenold A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2019 Reading Committee: Brian M. Reed, Chair Leroy F. Searle Phillip S. Thurtle Program Authorized to Offer Degree: English University of Washington Abstract The Poetics of Reflection in Digital Games Terrence E. Schenold Chair of the Supervisory Committee: Brian Reed, Professor English The Poetics of Reflection in Digital Games explores the complex relationship between digital games and the activity of reflection in the context of the contemporary media ecology. The general aim of the project is to create a critical perspective on digital games that recovers aesthetic concerns for game studies, thereby enabling new discussions of their significance as mediations of thought and perception. The arguments advanced about digital games draw on philosophical aesthetics, media theory, and game studies to develop a critical perspective on gameplay as an aesthetic experience, enabling analysis of how particular games strategically educe and organize reflective modes of thought and perception by design, and do so for the purposes of generating meaning and supporting expressive or artistic goals beyond amusement. The project also provides critical discussion of two important contexts relevant to understanding the significance of this poetic strategy in the field of digital games: the dynamics of the contemporary media ecology, and the technological and cultural forces informing game design thinking in the ludic century. The project begins with a critique of limiting conceptions of gameplay in game studies grounded in a close reading of Bethesda's Morrowind, arguing for a new a "phaneroscopical perspective" that accounts for the significance of a "noematic" layer in the gameplay experience that accounts for dynamics of player reflection on diegetic information and its integral relation to ergodic activity. -
Art Styles in Computer Games and the Default Bias
University of Huddersfield Repository Jarvis, Nathan Photorealism versus Non-Photorealism: Art styles in computer games and the default bias. Original Citation Jarvis, Nathan (2013) Photorealism versus Non-Photorealism: Art styles in computer games and the default bias. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/19756/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ THE UNIVERSITY OF HUDDERSFIELD Photorealism versus Non-Photorealism: Art styles in computer games and the default bias. Master of Research (MRes) Thesis Nathan Jarvis - U0859020010 18/09/2013 Supervisor: Daryl Marples Co-Supervisor: Duke Gledhill 1.0.0 – Contents. 1.0.0 – CONTENTS. 1 2.0.0 – ABSTRACT. 4 2.1.0 – LITERATURE REVIEW. 4 2.2.0 – SUMMARY OF CHANGES (SEPTEMBER 2013). -
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? . -
Effects of Art Styles on Video Game Narratives
Effects of Art Styles on Video Game Narratives UNIVERSITY OF TURKU Department of Future Technologies Master's Thesis July 2018 Leena Hölttä UNIVERSITY OF TURKU Department of Future Technologies HÖLTTÄ, LEENA Effects of Art Styles on Video Game Narratives Master's thesis, 76 pages, 29 appendix pages Computer Science August 2018 The effect of an art style on a video game's narrative is not widely studied and not much is known about how the general player base views the topic. This thesis attempts to answer this question through the use of two different surveys, a general theory related one, and one based upon images and categorization and a visual novel based interview that aims at gaining a further understanding of the subject. The general results point to the art style creating and emphasizing a narrative's mood and greatly enhancing the player experience. Based on these results a simple framework ASGDF was created to help beginning art directors and designers to create the most fitting style for their narrative. Key words: video games, art style, art, narrative, games TURUN YLIOPISTO Tulevaisuuden teknologioiden laitos HÖLTTÄ, LEENA Taidetyylien vaikutus videopelien narratiiviin Pro gradu -tutkielma, 76 s., 29 liites. Tietojenkäsittelytiede Elokuu 2018 Taidetyylien vaikutus videopelien narratiiviin ei ole laajasti tutkittu aihe, eikä ole laajasti tiedossa miten yleinen pelaajakunta näkee aiheen. Tämä tutkielma pyrkii vastaamaan tähän kysymykseen kahden eri kyselyn avulla, joista toinen on teoriaan perustuva kysely, ja toinen kuvien kategorisointiin perustuva kysely. Myös visuaalinovelliin perustuvaa haastattelua käytettiin tutkimuskysymyksen tutkimiseen. Yleiset tulokset viittaavat siihen, että taidetyyli vaikuttaa narratiivin tunnelmaan ja korostaa pelaajan kokemusta. -
Game Design Und Produktion“
Leseprobe zu „Game Design und Produktion“ von Gunther Rehfeld Print-ISBN: 978-3-446-46315-8 E-Book-ISBN: 978-3-446-46367-7 E-Pub-ISBN: 978-3-446-46645-6 Weitere Informationen und Bestellungen unter http://www.hanser-fachbuch.de/978-3-446-46315-8 sowie im Buchhandel © Carl Hanser Verlag, München Vorwort zur 2. Auflage Seit dem Erscheinen des Buchs vor mehr als sechs Jahren hat sich an der technologischen Front einiges geändert. Anderes ist beim Alten geblieben. So sind VR (Virtual Reality) und AR (Augmented Reality) zurzeit in aller Munde. Zudem nimmt der Vertrieb von Spielen über digitale Plattformen wie Steam immer mehr Raum ein. Die Game-Engines werden immer komplexer, gleichzeitig aber auch effizienter und einfacher zu bedienen. Virtual Reality (VR) ist zurzeit ein viel diskutierter Trend. Auf der anderen Seite ist das, was ein Spiel ausmacht, gleich geblieben. Die Grundlagen des Game Design werden sich ebenso wenig verändern wie der Prozess der Kreativität, der Umgang mit Spielelementen und -mechaniken, der Kern dessen, was eine gute Geschichte ausmacht etc. Sicherlich, immer neue Formate betreten den Markt. Oft als Moden, die 6 Vorwort zur 2. Auflage jedoch nicht nur auf den Bereich von Games (Computerspielen) beschränkt sind. Ein Beispiel hierfür sind die sogenannten Exit- oder Escape-Games. Sie erfreuen sich zurzeit sowohl digital, als auch als analoge Formate einer großen Beliebtheit. Nach wie vor treiben Games als gemeinschaftliche Interaktion die digitalen Märkte an. Mul- tiplayer-Survival-Titel wie Ark:Survival Evolved (Studio Wildcard, 2017), Blockbuster wie Fortnite (Epic Games, 2017) bis hin zu Browser-Games sind immer wieder an den Spitzen der Charts zu finden. -
Threat Simulation in Virtual Limbo Preprint
This is a preprint of the article “Threat simulation in virtual limbo: An evolutionary approach to horror video games” by Jens Kjeldgaard-Christiansen and Mathias Clasen, Aarhus University. The final, published version has been published in the Journal of Gaming and Virtual Worlds and is available at https://doi.org/10.1386/jgvw.11.2.119_1. Page 2 of 33 Threat Simulation in Virtual Limbo: An Evolutionary Approach to Horror Video Games Keywords: horror, Limbo, game studies, evolution, simulation, evolutionary psychology Abstract Why would anyone want to play a game designed to scare them? We argue that an alliance between evolutionary theory and game studies can shed light on the forms and psychological functions of horror video games. Horror games invite players to simulate prototypical fear scenarios of uncertainty and danger. These scenarios challenge players to adaptively assess and negotiate their dangers. While horror games thereby instil negative emotion, they also entice players with stimulating challenges of fearful coping. Players who brave these challenges expand their emotional and behavioural repertoire and experience a sense of mastery, explaining the genre’s paradoxical appeal. We end by illustrating our evolutionary approach through an in-depth analysis of Playdead’s puzzle-horror game Limbo. Page 3 of 33 Introduction Imagine this: You are a little boy, lost somewhere deep in the woods at night. You do not know how you got there or how to get out. All you know is that your sister is out there, somewhere, possibly in great danger. You have to find her. The ambiance is alive with animal calls, the flutter of branches and bushes and a welter of noises that you cannot quite make out. -
The Unity Glue Principles and Strategies for a Maintainable Unity Project Structure
Zurich University of the Arts Game Design Orientation C The Unity Glue Principles and strategies for a maintainable Unity project structure. Author: Mentors: Goran Saric René Bauer May 22, 2017 Mela Kocher 1 Abstract Today game developers can find hundreds of tutorials on the internet covering specific topics for the popular game engine “Unity”. However, there is a lack of corresponding literature to explain how to integrate all of these different topics together into one big, scalable, and maintainable project. Moreover, Unity’s application program interface was not designed to follow a specific workflow: game developers have the freedom to work in various ways. I personally think this open setting is especially good for fast prototyping production processes, but when it comes to larger projects, where multiple people have to work together productively, the overly flexible engine can easily lead developers to organization problems and bugs. To address this problem, my master’s thesis focuses on project structures within Unity 5.6. In order to first get an overview of existing practices, I interviewed individual developers and game studios. By analysing different methods and approaches for organizing assets and source code, I developed a reliable workflow for my current Unity game “FAR: Lone Sails” [l1]. The results of my research are a “cookbook” that helps to create a maintainable project structure for teams working on a collaborative basis in Unity. 2 Contents 1 Introduction 5 1.1 Thesis structure 5 1.2 Context 6 1.2.1 -
CTIN 483 Intro to Game Development Syllabus 2013-1
Introduction to Game Development – Spring, 2013 Syllabus USC School of Cinematic Arts, CTIN 483 (Sections 18354 & 18355) For any class questions, send email to: [email protected] Instructor: Student Assistant: Jeremy Gibson Will Hellwarth (434) 321-8624 (310) 422-3054 [email protected] [email protected] Course Rationale: Being a game designer requires an understanding of several different things, just a few of which are psychology, systems, fun, and storytelling. Each designer has different levels of expertise in each of these areas, and some only excel in one or two, but one thing that all designers need is the ability to communicate their ideas to others. Because games are a medium which, for the most part, must be experienced to be understood, rapid prototyping is often the best possible way to communicate your design ideas to others, and the ability of game designers to prototype can be thought of as equivalent to the ability of cinematographers to sketch; it's not the core skill of game design, but it does make it drastically easier for a game designer to communicate. This course will teach you the basic knowledge you need to be able to create digital prototypes of your own ideas. While you should not expect to come out of this course a great programmer, you will come out a better designer. This course is also required preparation for CTIN 484: Intermediate Game Development, in which students work in pairs to create a single, released game by the end of the semester. Course Description: This production class is focused on rapidly developing game prototypes. -
A Framework of Player Objects in Virtual Environments
A Framework of Player Objects in Virtual Environments Ea Christina Willumsen Department of Information Science and Media Studies University of Bergen Fosswinckels gate 6 5007 Bergen, Norway [email protected] ABSTRACT Based on data gathered from an analysis of 99 digital single-player games, this paper presents a framework named the PO-VE model for analysing player objects in virtual environments. Player objects are understood as objects integrated in the virtual environment which constitute the player’s point of control and thus frame their actions in the game system. A necessary distinction is made between player object and the presentation of characterisation, separating the notion of “character” from player object, which yields certain analytical benefits. The PO-VE model, which consists of 16 different categories and thus provides a high-granularity analysis tool, is presented using two primary examples from the data set – The Witcher III: Wild Hunt and VVVVVV – and discussed in relation to its potential applications, limitations, and contributions to the more theoretical domain of game studies. Keywords Player object, avatar, character, virtual environment, gameworld, object-oriented design, ontology, analysis model INTRODUCTION The very object with which we interact with a digital game has been scrutinised from a variety of perspectives. Using terms ranging from avatar (Linderoth 2005; Bayliss 2007; Klevjer 2007; Vella 2015; Kania 2017; Banks 2018; Willumsen 2018) to player character (Fernández-Vara 2011; Lankoski 2011; Westecott 2009) and game ego (Wilhelmsson 2008), scholars have attempted to understand the ways in which this object establishes a relationship between player and game. What has yet to be uncovered, however, are the details of the ways in which the object is integrated into a virtual environment and in turn how this integration determines its most basic configurations. -
Games: ARM, Chrome OS, Steam, and New Titles with Source Code And/Or GNU/Linux Support
Published on Tux Machines (http://www.tuxmachines.org) Home > content > Games: ARM, Chrome OS, Steam, and New Titles With Source Code and/or GNU/Linux Support Games: ARM, Chrome OS, Steam, and New Titles With Source Code and/or GNU/Linux Support By Roy Schestowitz Created 11/01/2021 - 1:47pm Submitted by Roy Schestowitz on Monday 11th of January 2021 01:47:59 PM Filed under Gaming [1] What do ARM-powered Macs mean for LINUX GAMING? [2] Looks like we may see Steam properly on Chrome OS by the end of 2021 | GamingOnLinux[3] In a move that might help boost Linux gaming numbers, it seems Google are still moving forward with their plan to get Steam running properly native on Chrome OS during 2021. This is something we've talked about before, and again and now it appears to be moving a bit quicker. The new report comes from Chrome Unboxed, who noticed some interesting commits landing talking about project Borealis, which appears to be the code name for this huge project which includes running Steam. I should note though, that Borealis isn't just about Steam but appears to be some wider Linux push for Chrome OS to get more working on it. Last we heard, Borealis itself was based on Ubuntu too. Fast-paced competitive score-fight platformer Jumpala releases January 19 | GamingOnLinux[4] Yokereba Games have teamed up with publisher Versus Evil for the release of Jumpala, a game that takes competitive platforming and turns it into a high-speed score-fight. Jumpala has each character hop between small platforms, each platform having a number attached to add to your score. -
Catalogo Nintendo Switch
Inverno 2020/2021 OMAGGIO Che cos'è Nintendo Switch? Nintendo Switch è una console per giocare dove, quando e con chi vuoi La famiglia Nintendo Switch comprende due console Nintendo Switch – pensata per giocare a casa oppure dove vuoi Tre modi di giocare Modalità TV Modalità da tavolo Modalità portatile p.06 ~ p.09 Nintendo Switch Lite pensata per giocare in mobilità p.10 ~ p.11 Dove, quando e con chi vuoi. Tre modalità 1 Modalità TV Nintendo Switch consente tre modalità di gioco. Inserisci Nintendo Switch nella base e gioca in HD sulla tua TV. Collegarlo alla TV è facile La console si accende appena la rimuovi Adattatore AC dalla base. Porta la console con te e Nintendo Switch continua a giocare in modalità portatile. Cavo HDMI Basta collegare l'adattatore AC e il cavo HDMI inclusi nella confezione a ogni uscita. Dove, quando e con chi vuoi. Tre modalità 2 Usa lo stand integrato e condividi il divertimento Modalità da tavolo con un gioco multiplayer. Inserendo i due Joy-Con nell'impugnatura Joy-Con Joy-Con ottieni un controller tradizionale. Nintendo Switch dispone di Senza l'impugnatura, ogni Joy-Con è un controller due controller, uno per lato, che indipendente. funzionano anche insieme. Nintendo Switch consente tre modalità di gioco. Tre modalità 3 Collega i controller Joy-Con alla console e Modalità portatile gioca dove vuoi. Nintendo Switch Lite – Nintendo Switch Lite è una console compatta, leggera e con comandi integrati. pensata per giocare in mobilità Nintendo Switch Lite è compatibile con tutti i software per Nintendo Switch che possono essere giocati in modalità portatile. -
Copyright Issues and Fair Use in Youtube "Let's Plays" and Video Game Livestreams
Intellectual Property Brief Volume 7 Issue 1 Article 1 2020 Fair Play: Copyright Issues and Fair Use in Youtube "Let's Plays" and Video Game Livestreams Sebastian C. Mejia Follow this and additional works at: https://digitalcommons.wcl.american.edu/ipbrief Part of the Intellectual Property Law Commons Recommended Citation Mejia, Sebastian C. (2020) "Fair Play: Copyright Issues and Fair Use in Youtube "Let's Plays" and Video Game Livestreams," Intellectual Property Brief: Vol. 7 : Iss. 1 , Article 1. Available at: https://digitalcommons.wcl.american.edu/ipbrief/vol7/iss1/1 This Article is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Intellectual Property Brief by an authorized editor of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Fair Play: Copyright Issues and Fair Use in Youtube "Let's Plays" and Video Game Livestreams This article is available in Intellectual Property Brief: https://digitalcommons.wcl.american.edu/ipbrief/vol7/iss1/1 FAIR PLAY: COPYRIGHT ISSUES AND FAIR USE IN YOUTUBE "LET'S PLAYS" AND VIDEOGAME LIVESTREAMS SEBASTIAN C. MEJIA INTRODUCTION While videogames used to be a small, niche hobby, they have become a worldwide, multi-billion dollar industry.' Games like Call of Duty: Black Ops II and Grand Theft Auto V are not only the biggest sellers in the videogame industry, but are also among the biggest entertainment properties in the world, both reaching the $1 billion sales milestone in record times.2 The high level of success has caused the growth of a large * J.D.