DOCSLIB.ORG

Beneke Simone 2019.Pdf (4.953Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beneke Simone 2019.Pdf (4.953Mb) THE HIDDEN WORLD OF GAMING AN EXPLORATION OF PRE-PRODUCTION DESIGN, HYPERREALISM, AND ITS FUNCTION IN ESTABLISHING CONCEPTUAL AND AESTHETIC VISUALISATION, CHARACTERISATION AND NARRATIVE STRUCTURE By Simone Beneke Student No.: 212505903 Submitted in fulfilment of the requirements for the degree of Master of Arts in the School of Humanities, University of KwaZulu-Natal Supervisor: Michelle Stewart 2019 Declaration I, Simone Beneke, declare that: 1. The research reported in this thesis, except where otherwise indicated, is my original research. 2. This thesis has not been submitted for any degree or examination at any other university. 3. This thesis does not contain other persons’ data, pictures, graphs or other information, unless specifically acknowledged as being sourced from other persons. 4. This thesis does not contain other persons' writing, unless specifically acknowledged as being sourced from other researchers. Where other written sources have been quoted, then: a. their words have been re-written, but the general information attributed to them has been referenced b. where their exact words have been used, then their writing has been placed in italics and inside quotation marks and referenced. 5. This thesis does not contain text, graphics or tables copied and pasted from the internet, unless specifically acknowledged, with the source being detailed in the thesis and in the References sections. Simone Beneke Student Name _______________ Signature 8th of August 2019 Date _______________ Name of Supervisor _______________ Signature _____________ Date ii Dedication I would like to dedicate this body of work to my husband Niall for his amazing continual support and belief in me as well as the energy boosting cups of tea he makes and my parents Johann and Chyrine for their love and support throughout my academic journey. Acknowledgements I'm sorry for any spoilers you may read in this thesis. I tried not to include too many. iii TABLE OF CONTENTS CHAPTER 1 ................................................................................................................................... 1 1.1. What is Pre-Production Design and Why Should it Matter? The Importance......................... 1 and Function of Pre-Production Design and the Pre-Production Stage ................................ 1 1.2. The Phases of Production ........................................................................................................ 3 1.2.1. The development phase ................................................................................................ 4 1.2.2. The pre-production phase ............................................................................................. 5 1.2.3. The production phase .................................................................................................... 6 1.2.4. The post-production phase ............................................................................................ 7 1.2.5. The distribution phase .................................................................................................. 7 1.3. Disney: The Origin of Pre-Production and Pre-Production Design First Seen in Games ....... 8 1.4. Pre-Production Design in Early Video Games ...................................................................... 11 1.5. DOOM - Pushing the Boundaries .......................................................................................... 13 1.5.1. DOOM and hyperrealism ............................................................................................ 18 CHAPTER 2 ................................................................................................................................. 21 2.1. What is Hyper-Reality, Living in a Hyper-Real World? ....................................................... 21 2.2. Jean Baudrillard's Concept of Hyper-Reality ........................................................................ 23 2.3. Umberto Eco's Concept of Hyper-reality .............................................................................. 26 2.4. Hyper-realities’ Place in Video Games .................................................................................. 28 CHAPTER 3 ................................................................................................................................. 43 3.1. The Push for Hyperrealism in Video Games ......................................................................... 43 3.2. CD PROJEKT RED’s Approach to Pre-Production Design .................................................. 51 3.3. Game Engines and Tools in the Pursuit of Hyper-Reality..................................................... 58 CHAPTER 4 ................................................................................................................................. 68 4.1. Wizards of the Coast and The Tyranny of Dragons - How Would This Work as a Video Game Focusing on Hyper-reality? ......................................................................................... 68 4.2. Aspects of Gameplay ............................................................................................................. 70 4.2.1. Episode 1 .................................................................................................................... 72 4.2.2. Episode 2 .................................................................................................................... 74 4.2.3. Episode 3 .................................................................................................................... 75 4.3. The Main Characters .............................................................................................................. 76 4.3.1. Humans ....................................................................................................................... 78 iv 4.3.2. Halflings ..................................................................................................................... 79 4.3.3. Gnomes ....................................................................................................................... 79 4.3.4. Dwarves ...................................................................................................................... 80 4.3.5. Half-Elves ................................................................................................................... 81 4.3.6. Elves ........................................................................................................................... 82 4.3.7. Tieflings ...................................................................................................................... 83 4.3.8. Half-Orcs .................................................................................................................... 85 4.4. Important Non-Player Characters and Foes ........................................................................... 86 4.4.1. Governor Nighthill ..................................................................................................... 86 4.4.2. Langdedrosa Cyanwrath ............................................................................................. 88 4.4.3. Leosin Erlanthar ......................................................................................................... 90 4.5. Creatures and Monsters ......................................................................................................... 92 4.5.1. The Roper ................................................................................................................... 92 4.5.2. The Kobolds and Winged Kobolds ............................................................................ 94 4.5.3. Drakes, Ambush Drakes and Guard Drakes ............................................................... 97 4.5.4. Giant Lizards ............................................................................................................ 100 4.5.5. Swarms of rat, bats and Stirges ................................................................................ 101 4.5.6. The Adult Blue Dragon ............................................................................................ 104 4.6. Conclusion and Analysis of Practical hyper-reality ............................................................ 106 REFERENCES ........................................................................................................................... 109 APPENDIX 1 .............................................................................................................................. 144 APPENDIX 2 .............................................................................................................................. 146 v LIST OF IMAGES Figure 1 - (Video) Lionhead Studios Limited (2015) Return to Albion ......................................... 3 Figure 2 - (Video) Middle-earth: Shadow of Mordor Nemesis System - E3 2014 Trailer ............. 8 Figure 3 - Snow White and the Seven Dwarves concept illustration image 0 (left) Snow White and the Seven Dwarves concept illustration image 04 (right) ..................................... 9 Figure 4 - (Video) Evolution of Video Game Graphics 1962-2017 ............................................. 12 Figure 5 - Sonic original design during the creation of the first game (SEGA, 1988) ................. 13 Figure 6 - (Video) Doom (93-94) vs Doom (2016) - Equivalent Monsters Comparison (YouTube, 2017) .........................................................................................................................
Load more

Recommended publications
  • Adaptivity in Single Player Video Games
    FACULDADE DE ENGENHARIA DA UNIVERSIDADE DO PORTO Adaptivity in Single Player Video Games João Augusto dos Santos Lima Mestrado Integrado em Engenharia Informática e Computação Supervisor: João Jacob Co-Supervisor: Zafeiris Kokkinogenis July 23, 2021 Adaptivity in Single Player Video Games João Augusto dos Santos Lima Mestrado Integrado em Engenharia Informática e Computação July 23, 2021 Abstract Players typically play video games to have fun and enjoy the moments they create during the gaming session. Each game gives the player a unique gaming experience, differentiating them from an ever-growing video game market. Additionally, each player has a specific genre of games that they enjoy. Even in the same game, different players have distinct objectives of what they seek in the gameplay. Furthermore, games try to compensate for the discrepancy of skill found between players by allowing them to choose a level of difficulty. However, this method depends on the player’s ability to self judge and self assign themself to a difficulty on a game they may never have played before. Consequently, this assignment may lead to a poor gaming experience, not allowing the player to enjoy all the creative content available in the game. This dissertation tries to present a machine learning approach to game adaptivity in order to maximize the player’s gaming experience. Firstly, to solve this problem, a player simulation needs to be created to have sufficient data points to train the reinforcement learning adaptivity system. Then, with the adaptivity system, the adapted game will change its content depending on the playing user to improve the gaming experience and game flow.
    [Show full text]
  • Elements of Gameful Design Emerging from User Preferences Gustavo F
    Elements of Gameful Design Emerging from User Preferences Gustavo F. Tondello Alberto Mora Lennart E. Nacke HCI Games Group Estudis d’Informàtica, HCI Games Group Games Institute Multimedia i Telecomunicació Games Institute University of Waterloo Universitat Oberta de Catalunya University of Waterloo [email protected] [email protected] [email protected] ABSTRACT Gameful systems are effective when they help users achieve Several studies have developed models to explain player pref- their goals. This often involves educating users about topics erences. These models have been developed for digital games; in which they lack knowledge, supporting them in attitude or however, they have been frequently applied in gameful design behaviour change, or engaging them in specific areas [10]. To (i.e., designing non-game applications with game elements) make gameful systems more effective, several researchers have without empirical validation of their fit to this different context. attempted to model user preferences in these systems, such as It is not clear if users experience game elements embedded user typologies [40], persuasive strategies [31], or preferences in applications similarly to how players experience them in for different game elements based on personality traits [21]. games. Consequently, we still lack a conceptual framework of Nevertheless, none of these models have studied elements design elements built specifically for a gamification context. used specifically in gameful design. To select design elements To fill this gap, we propose a classification of eight groups of that can appeal to different motivations, designers still rely gameful design elements produced from an exploratory factor on player typologies—such as Bartle’s player types [3, 4] or analysis based on participants’ self-reported preferences.
    [Show full text]
  • Hyperreality and Virtual Worlds: When the Virtual Is Real
    sphera.ucam.edu ISSNe: 2695-5725 ● Número 19 ● Vol.II ● Año 2019 ● pp. 36-58 Hyperreality and virtual worlds: when the virtual is real Paulo M. Barroso, Polytechnic Institute of Viseu (Portugal) [email protected] Received: 12/11/19 ● Accepted: 10/12/19 ● Published: 19/12/19 How to reference this paper: Barroso, Paulo M. (2019). Hyperreality and virtual worlds: when the virtual is real, Sphera Publica, 2(19), 36‐58. Abstract This article questions what is hyperreality and underlines the role of the signs/images fostering the perception of a virtual world. It argues the potentiality of signs as artefacts. Starting from Agamben’s perspective regarding contemporary, the hyperreality is understood as a modern, visual and mass manifestation of the need for simulacra in a non-referential virtual world. How hyperreality, spectacle, simulation, and appearance emerge out of reality? What is authentic or real are issues raised using images and technological devices. The images are popular and amplify the effects of distraction and social alienation. The image is immediately absorbed, spectacular, attractive, a peculiar ready-to-think that eliminates or dilutes the concepts and produces a fast culture. Through a reflexive strategy, this article is conceptual (it has no case study or empirical work) and has the purpose of problematize the experience of hyperreality, which is reshaping and restructuring patterns of social life and social interdependence, and the ways we see, think, feel, act or just mean and interpret the reality. Keywords Hyperreality, image, real, virtual worlds, technology Barroso Hiperrealidad y mundos virtuales Hiperrealidad y mundos virtuales: cuando lo virtual es real Paulo M.
    [Show full text]
  • Video Game Archive: Nintendo 64
    Video Game Archive: Nintendo 64 An Interactive Qualifying Project submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE in partial fulfilment of the requirements for the degree of Bachelor of Science by James R. McAleese Janelle Knight Edward Matava Matthew Hurlbut-Coke Date: 22nd March 2021 Report Submitted to: Professor Dean O’Donnell Worcester Polytechnic Institute This report represents work of one or more WPI undergraduate students submitted to the faculty as evidence of a degree requirement. WPI routinely publishes these reports on its web site without editorial or peer review. Abstract This project was an attempt to expand and document the Gordon Library’s Video Game Archive more specifically, the Nintendo 64 (N64) collection. We made the N64 and related accessories and games more accessible to the WPI community and created an exhibition on The History of 3D Games and Twitch Plays Paper Mario, featuring the N64. 2 Table of Contents Abstract…………………………………………………………………………………………………… 2 ​ Table of Contents…………………………………………………………………………………………. 3 ​ Table of Figures……………………………………………………………………………………………5 ​ Acknowledgements……………………………………………………………………………………….. 7 ​ Executive Summary………………………………………………………………………………………. 8 ​ 1-Introduction…………………………………………………………………………………………….. 9 ​ 2-Background………………………………………………………………………………………… . 11 ​ ​ ​ 2.1 - A Brief of History of Nintendo Co., Ltd. Prior to the Release of the N64 in 1996:……………. 11 ​ 2.2 - The Console and its Competitors:………………………………………………………………. 16 ​ ​ Development of the Console……………………………………………………………………...16
    [Show full text]
  • Art and Hyperreality Alfredo Martin-Perez University of Texas at El Paso, [email protected]
    University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2014-01-01 Art and Hyperreality Alfredo Martin-Perez University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Philosophy Commons, and the Theory and Criticism Commons Recommended Citation Martin-Perez, Alfredo, "Art and Hyperreality" (2014). Open Access Theses & Dissertations. 1290. https://digitalcommons.utep.edu/open_etd/1290 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. HYPERREALITY & ART A RECONSIDERATION OF THE NOTION OF ART ALFREDO MARTIN-PEREZ Department of Philosophy APPROVED: Jules Simon, Ph.D. Mark A. Moffett, Ph.D. Jose De Pierola, Ph.D. ___________________________________________ Charles Ambler, Ph.D. Dean of the Graduate School Copyright © By Alfredo Martin-Perez 2014 HYPERREALITY & ART A RECONSIDERATION OF THE NOTION OF ART by ALFREDO MARTIN-PEREZ Thesis Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Department of Philosophy THE UNIVERSITY OF TEXAS AT EL PASO December 2014 ACKNOWLEDGMENTS I would like to thank my daughters, Ruby, Perla, and Esmeralda, for their loving emo- tional support during the stressing times while doing this thesis, and throughout my academic work. This humble work is dedicated to my grandchildren. Kimberly, Angel, Danny, Freddy, Desiray, Alyssa, Noe, and Isabel, and to the soon to be born, great-grand daughter Evelyn.
    [Show full text]
  • The Interplay of Game Elements with Psychometric Qualities, Learning, and Enjoyment in Game-Based Assessment
    Computers & Education 87 (2015) 340e356 Contents lists available at ScienceDirect Computers & Education journal homepage: www.elsevier.com/locate/compedu The interplay of game elements with psychometric qualities, learning, and enjoyment in game-based assessment * Yoon Jeon Kim a, , Valerie J. Shute b a Worcester Polytechnic Institute, USA b Florida State University, USA article info abstract Article history: Educators today are increasingly interested in using game-based assessment to assess and Received 26 April 2015 support students' learning. In the present study, we investigated how changing a game Received in revised form 6 July 2015 design element, linearity in gameplay sequences,influenced the effectiveness of game- Accepted 13 July 2015 based assessment in terms of validity, reliability, fairness, learning, and enjoyment. Two Available online 17 July 2015 versions of a computer game, Physics Playground (formerly Newton's Playground), with different degrees of linearity in gameplay sequences were compared. Investigation of the Keywords: assessment qualitiesdvalidity, reliability, and fairnessdsuggested that changing one game Game-based assessment fi fl Game-based learning element (e.g., linearity) could signi cantly in uence how players interacted with the game, Psychometric evaluation thus changing the evidentiary structure of in-game measures. Although there was no Validity significant group difference in terms of learning between the two conditions, participants Reliability who played the nonlinear version of the game showed significant improvement on Fairness qualitative physics understanding measured by the pre- and posttests while the partici- Gameplay sequences pants in the linear condition did not. There was also no significant group difference in terms of enjoyment. Implications of the findings for future researchers and game-based assessment designers are discussed.
    [Show full text]
  • Let's Play! Video Game Related User-Generated Content in the Digital Age -In Search of Balance Between Copyright and Its Exce
    TALLINN UNIVERSITY OF TECHNOLOGY Faculty of Social Sciences Tallinn Law School Henna Salo Let’s Play! Video Game Related User-Generated Content in the Digital Age -in Search of Balance Between Copyright and its Exceptions Master Thesis Supervisor: Addi Rull, LL.M Tallinn 2017 I hereby declare that I am the sole author of this Master Thesis and it has not been presented to any other university of examination. Henna Salo “ ..... “ ............... 2017 The Master Thesis meets the established requirements. Supervisor Addi Rull “ …….“ .................... 2017 Accepted for examination “ ..... “ ...................... 2017 Board of Examiners of Law Masters’ Theses …………………………… CONTENTS TABLE OF ABBREVIATIONS (IN ALPHABETICAL ORDER) 2 INTRODUCTION 3 1. COPYRIGHT PROTECTION OF VIDEO GAMES 12 1.1. Development of Copyright Protection of Video Games in the EU and the US 12 1.2. Video Games as Joint Works and Their Copyrighted Elements 14 1.2.1 Copyrightable Subject Matter and Originality 16 1.2.2. The Idea-expression Dichotomy 19 2. LIMITATIONS AND EXCEPTIONS TO COPYRIGHT 23 2.1. European Union 23 2.1.1 An Exhaustive List of Exceptions and the Three-Step Test 23 2.1.2 Exceptions in Practice 27 2.2 United States 29 2.2.1 Digital Millenium Copyright Act and Fair Use 29 2.2.2 Fair Use Interpretation in Case Law 31 2.3. Video Game Related User-Generated Content as Derivative Works 34 3. COPYRIGHT ENFORCEMENT 37 3.1. Copyright Enforcement in United States 37 3.2. European Copyright Enforcement Mechanisms 40 3.3. Contractual Limitation of the Use of Copyrighted Materials 45 4. CONFLICTING INTERESTS AND FINDING THE BALANCE 48 4.1.
    [Show full text]
  • Virtual Reality: Hype, Reality, and Hyperreality
    Virtual Reality: Hype, Reality, and Hyperreality John P. Sullins Ph.D. 2002, Ph.D in Philosophy, Computers and Cognitive Science, Binghamton University Sonoma State University Philosophy Department. 2003- Virtual, Real and Hyperreal • Use of technology in cultural production • Technology + • Noetic: how we understand the world • Refers to how technologies are changing our perceptions and therefore our understanding of our world • A term that is used in digital arts TECHNOETIC THE FUTURE OF VIRTUAL REALITY | PHIL KAUFFOLD | TEDXSONOMACOUNTY PSYCHOLOGICAL SKEPTICISM • You feel that you are in good reality contact • But psychology tells us that that is wrong • What you are experiencing as reality is your own personal version of reality, and that it may or may not be the same as the reality being experienced right now by others around you • You might disagree, or might think the idea is crazy • We will use our critical thinking skills now to explore this unsettling idea HOW DO YOU KNOW WHERE YOU ARE AND WHAT IS HAPPENING RIGHT NOW? WHY DID YOU SIT IN THE CHAIR THAT YOU CHOSE TODAY?When light bouncedWHY off thatNOT other personTHE and ONE entered NEXTyour eyes, itTO was converted YOU into WITH a pattern ofTHE nerve impulses that went to your brain. OTHER• thePERSON retina, the optic nerve,IN theIT? thalamus, the visual cortex. • Your brain compared that pattern with patterns that you have seen before and that are stored in your memory. • Your brain discovered that the pattern matched the mental category (or concept) that in your language is called “a person.” • Your brain also retrieved from memory the knowledge that two physical objects cannot occupy the same space at the same time.
    [Show full text]
  • The Gamification User Types Hexad Scale Gustavo F
    The Gamification User Types Hexad Scale Gustavo F. Tondello1, Rina R. Wehbe1, Lisa Diamond2, Marc Busch2, Andrzej Marczewski3, Lennart E. Nacke1 1 HCI Games Group, Games Institute, University of Waterloo, Waterloo, ON, Canada 2 AIT – Austrian Institute of Technology GmbH, Vienna, Austria 3 Gamified UK, New Haw, Surrey, England [email protected], [email protected], [email protected], [email protected], [email protected], [email protected] ABSTRACT Personalizing gameful systems to each user is important Several studies have indicated the need for personalizing because personalized interactive systems are more effective gamified systems to users’ personalities. However, mapping than one-size-fits-all approaches. Gameful systems are ef- user personality onto design elements is difficult. Hexad is fective when they help users achieve their goals, which a gamification user types model that attempts this mapping often involve educating them about certain topics, support- but lacks a standard procedure to assess user preferences. ing them in attitude or behaviour change, or engaging them Therefore, we created a 24-items survey response scale to in specific topics [9]. The efficacy of personalization ac- score users’ preferences towards the six different motiva- cording to the user’s personality traits has been shown in tions in the Hexad framework. We used internal and test- user interface design [33], persuasive technology [24,25], retest reliability analysis, as well as factor analysis, to vali- and games [1,34,35]. As a consequence, we believe that date this new scale. Further analysis revealed significant personalized gameful systems will be more engaging if they associations of the Hexad user types with the Big Five per- adapt to personality traits or player types [14,15].
    [Show full text]
  • Representing the Hero: a Comparative Study Between the Animated and Gameplay Cinematic
    Representing the Hero: A Comparative Study between the Animated and Gameplay Cinematic Trailers for Overwatch By Stella Kerr Date 15 March 2017 Supervisor: Hanli Geyser The University of the Witwatersrand Student Number: 559823 Course Number: WSOA 7036 Master of Arts in Digital Animation i Declaration I hereby declare that this dissertation is my own work. It is submitted for the degree of Master of Arts in the field of Digital Animation at the University of the Witwatersrand, Johannesburg. It has not been previously submitted for any degree or examination at any other university. Stella Kerr 15 March 2017 ii Acknowledgements I would first and foremost like to thank the University of the Witwatersrand for enabling me to pursue my academic career, with professional facilities and supportive staff. To my supervisor, Hanli Geyser, if it were not for your invaluable assistance and encouragement, this research would have not been possible. The effort and time that you have devoted to helping me during this long process is something I will always hold dear to me. You have succeeded in helping me realize my own potential and abilities, your knowledge and professional guidance is one of a kind and is extremely influential. To my editor Genevieve Wood, Thank you for improving my research and assisting me in the finality of my research. I would like to express my gratitude towards my three close friends, Chantelle le Bron, Emma Kerr and Tanya Blaeser. The determination I see in all of you has inspired me to follow my dream of completing my research report, thank you for being true friends along this path in my life.
    [Show full text]
  • 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.
    [Show full text]
  • Copyright by Kaitlin Elizabeth Hilburn 2017
    Copyright by Kaitlin Elizabeth Hilburn 2017 The Report Committee for Kaitlin Elizabeth Hilburn Certifies that this is the approved version of the following report: Transformative Gameplay Practices: Speedrunning through Hyrule APPROVED BY SUPERVISING COMMITTEE: Supervisor: Suzanne Scott Kathy Fuller-Seeley Transformative Gameplay Practices: Speedrunning through Hyrule by Kaitlin Elizabeth Hilburn, B.S. Comm Report 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 2017 Dedication Dedicated to my father, Ben Hilburn, the first gamer I ever watched. Abstract Transformative Gameplay Practices: Speedrunning Through Hyrule Kaitlin Elizabeth Hilburn, M.A. The University of Texas at Austin, 2017 Supervisor: Suzanne Scott The term “transformative” gets used in both fan studies and video game studies and gestures toward a creative productivity that goes beyond simply consuming a text. However, despite this shared term, game studies and fan studies remain fairly separate in their respective examination of fans and gamers, in part due to media differences between video games and more traditional media, like television. Bridging the gap between these two fields not only helps to better explain transformative gameplay, but also offers additional insights in how fans consume texts, often looking for new ways to experience the source text. This report examines the transformative gameplay practices found within video game fan communities and provides an overview of their development and spread. It looks at three facets of transformative gameplay, performance, mastery, and education, using the transformative gameplay practices around The Legend of Zelda: Ocarina of Time (1998) as a primary case study.
    [Show full text]