Game Narrative Review
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Silent Hill Le Moteur De La Terreur
Bernard Perron SILENT HILL le moteur de la terreur Traduit de l’anglais (Canada) par Claire Reach L>P / QUESTIONS THÉORIQUES L’auteur emploie le titre Silent Hill pour désigner l’ensemble de la série. À la mémoire de Shantal Robert, Silent Hill (sans italiques) désigne la ville éponyme. lumière dans l’obscurité Et pour chaque jeu en particulier, les abréviations suivantes : SH1 Silent Hill (PS1), Konami/Konami (1999). SH2 Silent Hill 2 (PS2/PC), Konami/Konami (2001). SH3 Silent Hill 3 (PS2/PC), Konami/Konami (2003). SH4 Silent Hill 4: The Room (PS2/Xbox/PC), Konami/Konami (2004). SH: 0rigins Silent Hill: 0rigins (PSP/PS2), Konami/Konami (2007). SH: Homecoming Silent Hill: Homecoming (PS3/Xbox 360/PC), Double Helix Games/ Konami (2008). SH: Shattered Memories Silent Hill: Shattered Memories (Wii/PS2/PSP), Climax Studios/Konami (2009). SH: Downpour Silent Hill: Downpour (PS3/ Xbox 360), Vatra Games/Konami (2012). INTRODUCTION Le chemin est le but. Proverbe bouddhiste theravada Toute discussion sur Silent Hill débute immanquable- ment par une comparaison avec Resident Evil. Cette série de jeux sur console très populaire de Capcom (1996) ayant été lancée avant le Silent Hill (SH1) (1999) de Konami, elle était et demeure à ce jour la référence obligée. Toutefois, comme le soulignait l’Official U.S. PlayStation Magazine en couver- ture de son numéro de mars 1999, SH1 était « plus qu’un simple clone de Resident Evil 1 ». On a d’abord remarqué les progrès techniques et esthétiques. Les arrière-plans réa listes et pré calculés en 2D de Raccoon City cédaient la place aux environnements en 3D et en temps réel de Silent Hill. -
Silent Hill 2 PC Manual (Digital)
ABOUT PHOTOSENSITIVE SEIZURES A very small percentage of people may experience a seizure when exposed to certain visual images, including flashing lights or patterns that may appear in video games. Even people who have no history of seizures or epilepsy may have an undiagnosed condition that can cause these “photosensitive epileptic seizures” while watching video games. These seizures may have a variety of symptoms including: Lightheadedness, altered vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, confusion, or momentary loss of awareness. Seizures may also cause loss of consciousness or convulsions that can lead to injury from falling down or striking nearby objects. Immediately stop playing and consult a doctor if you experience any of these symptoms. Parents should watch for or ask their children about the above symptoms–children and teenagers are more likely than adults to experience these seizures. The risk of photosensitive epileptic seizures may be reduced by: • sitting farther from the television screen, • using a smaller television screen, • playing in a well-lit room, and • not playing when you are drowsy or fatigued. If you or any of your relatives have a history of seizures or epilepsy, consult a doctor before playing. AVOID DAMAGE TO YOUR TELEVISION Do not use with certain televisions. Some televisions, especially front-or rear-projection types, can be damaged if any video games, including Xbox games, are played on them. Static images presented during the normal course of game play may “burn in” to the screen, causing a permanent shadow of the static image to appear at all times, even when video games are not being played. -
Emulating Authentic Dialogue in Roleplaying Video Games
Tips of Fingers, Tips of Tongues: Emulating Authentic Dialogue in Roleplaying Video Games Stephanie Caskenette The Department of Art History and Communication Studies, McGill University, Montréal October 2017 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of a Master’s of Arts (Communication Studies). © Stephanie Caskenette, 2017 1 Table of Contents Abstract ........................................................................................................................................... 3 Acknowledgements ......................................................................................................................... 4 Introduction ..................................................................................................................................... 5 Chapter 1 – Game Feel and Other Methodological Considerations ............................................. 22 Chapter 2 – Dialogue Systems in Roleplaying Games ................................................................. 44 Chapter 3 –Evaluating Contemporary Dialogue Systems ............................................................ 62 Chapter 4 – Designing Around Hardware Limitations ................................................................. 77 Conclusion .................................................................................................................................... 94 Works Cited ................................................................................................................................. -
Proposal for the Analysis of a Video Game, a Film, and Their Relationship
DEPARTAMENT DE COMUNICACIÓ AUDIOVISUAL I PUBLICITAT Proposal for the analysis of a video game, a film, and their relationship. (Silent Hill as a subject of the horror genre) Martha S. Ramos Ibarra Director: Dr. María T. Soto Sanfiel Bellaterra, Junio de 2012 INDEX INTRODUCTION 1 I. OBJECT OF STUDY 9 II. OBJECTIVES 11 1. Objectives 11 1.1. General Objectives 11 1.2. Specific Objectives 11 III. THEORETICAL FRAMEWORK 13 1. What is a Narrative? 15 1.2. Parts of a Narrative 15 1.2.1. Story 16 1.2.2. Discourse 19 1.3. Levels of a Story 21 1.3.1. Level of Functions 21 1.3.2. Level of Actions 23 1.3.3. Level of Narrative 23 1.4. Time and Space 24 1.4.1. Time 25 1.4.2. Space 26 1.5. Propp‘s Functions 27 1.5.1 Mischief 28 1.5.2 Spheres of Action 30 1.5.3. Types of Heroes 31 1.5.4. Character attributes 32 1.6. Suspense 32 1.7. Denouement 35 2. Narrative Formats 37 3. Literary Genres 38 4. Introduction to Horror Literature 39 4.1. Fantasy Literature 39 4.1.1. The supernatural unknown element 40 4.1.2. Identifiable Universe 41 4.1.3. Radical break between the protagonist and the universe 41 4.2. Horror Narratives 42 4.2.1. Origins of horror fictions 44 4.2.1.1. Gothic Novel 44 5. Themes and Structure of Horror Narratives 53 5.1. The Complex Discovery Plot 53 5.1.1. Onset of horrific event (evidence). -
Universidad De Guadalajara
Universidad de Guadalajara Centro Universitario en Arte, Arquitectura y Diseño Doctorado Interinstitucional en Arte y Cultura Tema de Tesis: En contra de la momificación. Los videojuegos como artefactos de cultura visual contemporánea: la emulación y simulación a nivel circuito, a modo de tácticas de su preservación Tesis que para obtener el grado de Doctor en Arte y Cultura Presenta: Romano Ponce Díaz Director de Tesis: Dr. Jorge Arturo Chamorro Escalante Línea de Generación y Aplicación del Conocimiento: Artes Visuales. Guadalajara, Jalisco, febrero del 2019 1 En contra de la momificación. Los videojuegos como artefactos de cultura visual contemporánea: la emulación y simulación a nivel circuito, a modo de tácticas de su preservación. ©Derechos Reservados 2019 Romano Ponce Díaz [romano.ponce@ alumnos.udg.mx] 2 ÍNDICE DE ILUSTRACIONES. 8 ÍNDICE DE TABLAS. 8 1.1 PRESENTACIÓN 9 1.2 AGRADECIMIENTOS 11 1.3 RESUMEN 13 1.4 ABSTRACT 14 2 PRIMER NODO: EXPOSICIÓN. 16 2.1.1 CAPÍTULO 2. EL PROBLEMA PREFIGURADO: 19 2.2 OTRO EPÍLOGO A MANERA DE PRÓLOGO. 19 2.3 EL RELATO COMO PRESERVADOR DEL TESTIMONIO DE LA CULTURA. 20 2.4 LA MEMORIA PROSTÉTICA, SU RELACIÓN CON LOS OBJETOS, Y, LA NATURALEZA FINITA 27 2.4.1 CINEMATOGRAFÍA, EXPLOSIONES Y FILMES PERDIDOS 29 2.4.2 LOS VIDEOJUEGOS Y LAS FORMAS DE MIRAR AL MUNDO 33 2.4.3 VIDEOJUEGOS, IDEOLOGÍA, VISUALIDAD Y ARTE: 35 2.4.4 LA ESTRUCTURA DE LA OBSOLESCENCIA Y EL MALESTAR DE LA CULTURA 46 2.5 ANTES DE QUE CAIGA EN EL OLVIDO: UNA HIPÓTESIS 49 2.5.1 SOBRE LOS OBJETIVOS, ALCANCES, Y LA MORFOLOGÍA DEL TEXTO 51 3 CAPÍTULO 3. -
Video Game Music: a Connection Beyond the Controller
1 Video Game Music: A Connection Beyond the Controller by Zach Nicely David lightly grasps the controller of his Nintendo 64 as he leans back in his leather gaming chair. His character casually explores the depths of the Shadow Temple, when something catches his attention. The environment changes, and suddenly something does not seem right. David moves to the edge of his seat and leans forward, locking his gaze on the television screen and strengthening his grip on the controller. The music has changed and he cannot only hear it, he can feel it. Pressing the “A” button, he draws his sword and scans the environment for the enemy of which the music warns. Holding his index finger steady over “Z,” he rotates his character until he finds a Stalfos moving side-to-side, preparing to attack. David locks on to the target and engages the warrior skeleton in combat. The quick pace of the music raises his adrenaline and keeps him alert, anticipating every move the enemy makes until its defeat. After the Stalfos dissolves into flames, the music returns to that slow, eerie theme. David notices his heart pounding louder and faster than usual, and his hands are covered in sweat. He leans back in his chair, wipes his hands on his jeans, and returns to the calm state of his body before this encounter. All players experience this situation while playing any kind of game: the player finds himself completely wrapped up in the moment, not realizing the physical reactions he has to the game. Why does this happen? The things that occur in a video game obviously are not real, so how can someone react to these things as though they are? Multiple factors contribute to this, but the biggest reason for such occurrences is the music. -
Download PDF # Silent Hill « VZCO38Q97UWE
8LFUYDG2FE3F Doc < Silent Hill Silent Hill Filesize: 5.46 MB Reviews Basically no words to clarify. Of course, it is perform, still an amazing and interesting literature. Its been printed in an exceptionally basic way which is only soon after i finished reading through this ebook where actually altered me, change the way i really believe. (Newton Runolfsson) DISCLAIMER | DMCA FT56FNN2NZJZ ^ Book « Silent Hill SILENT HILL To read Silent Hill PDF, remember to follow the link under and save the document or have accessibility to additional information that are relevant to SILENT HILL ebook. Reference Series Books LLC Nov 2011, 2011. Taschenbuch. Book Condition: Neu. 246x189x5 mm. Neuware - Source: Wikipedia. Pages: 30. Chapters: List of Silent Hill monsters, Mary Elizabeth McGlynn, List of Silent Hill media, Joe Romersa, Akira Yamaoka, Silent Hill: Revelation 3D, Team Silent, Hiroyuki Owaku, Masahiro Ito, Keiichiro Toyama, Suguru Murakoshi, Masashi Tsuboyama. Excerpt: The following is a list of monsters in the video game series Silent Hill. Skulking, humanoid creatures trapped in what appears to be straitjackets made from their own flesh. They attack by spewing a spray of acidic mist from an opening in their chest. They are slow whilst standing upright, but when knocked down they stay in a lying position and move by skittering very quickly along the ground. The Patient Demon symbolizes a hospital and/or mental patient squirming in agony, and are also a manifestation of James Sunderland's internal suering. They also allude to James' sexual frustration, as they appear to be wearing thong underwear and heeled boots. The creature has been nicknamed Body Bag, Straight-Jacket, No Arm-ies, Condom Man, and Patient Demon prior to the release of The Book of Lost Memories which confirmed the oicial name. -
A Guide to the Videogame System
SYSTEM AND EXPERIENCE A Guide to the Videogame as a Complex System to Create an Experience for the Player A Master’s Thesis by Víctor Navarro Remesal Tutor: Asunción Huertas Roig Department of Communication Rovira i Virgili University (2009) © Víctor Navarro Remesal This Master’s Thesis was finished in September, 2009. All the graphic material belongs to its respective authors, and is shown here solely to illustrate the discourse. 1 ACKNOWLEDGEMENTS I would like to thank my tutor for her support, advice and interest in such a new and different topic. Gonzalo Frasca and Jesper Juul kindly answered my e-mails when I first found about ludology and started considering writing this thesis: thanks a lot. I also have to thank all the good people I met at the ECREA 2008 Summer School in Tartu, for giving me helpful advices and helping me to get used to the academic world. And, above all, for being such great folks. My friends, family and specially my girlfriend (thank you, Ariadna) have suffered my constant updates on the state of this thesis and my rants about all things academic. I am sure they missed me during my months of seclusion, though, so they should be the ones I thanked the most. Thanks, mates. Last but not least, I want to thank every game creator cited directly or indirectly in this work, particularly Ron Gilbert, Dave Grossman and Tim Schafer for Monkey Island, Fumito Ueda for Ico and Shadow of the Colossus and Hideo Kojima for the Metal Gear series. I would not have written this thesis if it were not for videogames like these. -
Amnesia: Apontamentos Sobre O Género Survival Horror
Amnesia: apontamentos sobre o género survival horror Ana Filipa Sério Narciso Dissertação para obtenção do grau de mestre em Comunicação, Cultura e Artes Trabalho efetuado sob a orientação de: Prof. Doutor Bruno Silva Prof. Doutor Nelson Zagalo 2014 Amnesia: Apontamentos sobre o género survival horror Declaro ser a autora deste trabalho, que é original e inédito. Autores e trabalhos consultados estão devidamente citados no texto e constam da listagem de referências incluídas. _____________________________ @ Copyright, Ana Narciso A Universidade do Algarve tem o direito, perpétuo e sem limites geográficos, de arquivar e publicitar este trabalho através de exemplares impressos reproduzidos em papel ou de forma digital, ou por qualquer outro meio conhecido ou que venha a ser inventado, de o divulgar através de repositórios científicos e de admitir a sua cópia e distribuição com objetivos educacionais ou de investigação, não comerciais, desde que seja dado crédito ao autor e editor. Aos meus pais e à minha irmã, sem eles nada era possível. Resumo Com o passar dos anos, os videojogos têm vindo a intensificar a sua importância enquanto conteúdo, arte e experiência sendo o foco desta dissertação a procura de medos específicos que o género survival horror é capaz de desencadear. Através do cinema de horror, da literatura gótica e da pintura romântica, uma reflexão sobre o universo dos videojogos Amnesia poderá ser criada. Caracterizam-se não só pela complexidade de cenários, criaturas, sons e narrativa mas também pela procura de uma intensa experiência emocional ao impedir toda e qualquer forma de combate e a trabalhar, de forma constante, a insanidade no ser humano. -
The Freudian Uncanny in Psychological Horror Games
Repeating Despite Repulsion: The Freudian Uncanny in Psychological Horror Games Julia Jespersdotter Högman English Studies Bachelor Level 15 hp Term 6 2021 Supervisor: Berndt Clavier Jespersdotter Högman 2 Table of Contents Abstract…………………………………………………………………………………….......i 1. Introduction…………………………………………………………………………....…..1 2. Theory and Method……………………………………………………………………..….4 a. The Uncanny…………………………………………………………………………..4 b. Player/Avatar Relationship………………………………………………………........8 c. Interactive Fictions…………………………………………………………………..10 d. Cry of Fear…………………………………………………………………………...11 e. Silent Hill 2…………………………………………………………………………..11 f. P.T……………………………………………………………………………………12 g. Outlast…………………………………………………………………………….…13 4. Discussion………………………………………………………………………………….14 a. Internal and External Reality…………………………………………………...........14 b. The Symbolic………………………………………………………………………...21 c. The Familiar………………………………………………………………………….31 d. The Double…………………………………………………………………………..37 e. Video Game Fiction and Written Fiction…………………………………….............41 5. Conclusion………………………………………………………………………………....44 6. Glossary…………………………………………………………………………………....46 7. Works Cited………………………………………………………………………………..48 Jespersdotter Högman 3 Abstract This thesis explores the diverse and intricate ways the psychological horror game genre can characterise a narrative by blurring the boundaries of reality and imagination in favour of storytelling. By utilising the Freudian uncanny, four video game fictions are dissected and analysed to perceive whether horror needs a narrative to be engaging -
En Videojuegos 2D
MOVIMIENTO Y JUGABILIDAD ARTICULACIÓN ESPACIAL EN VIDEOJUEGOS 2D TFG 2017 MARIANO JAVIER DORADO MELARA Título: MOVIMIENTO Y JUGABILIDAD. ARTICULACIÓN ESPACIAL EN VIDEOJUEGOS 2D. MARIANO JAVIER DORADO MELARA Tutor: ÁNGEL MARTÍNEZ DÍAZ Aula 4 TFG / Otoño 2017-18 / 16-1-2018 Coordinador: Jorge Sainz Avia Escuela Técnica Superior de Arquitectura (ETSAM) MOVIMIENTO Y JUGABILIDAD ARTICULACIÓN ESPACIAL EN VIDEOJUEGOS 2D TFG OTOÑO 2017 ALUMNO MARIANO JAVIER DORADO MELARA PROFESOR TUTOR Á NGEL M ARTÍNEZ D ÍAZ ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA UNIVERSIDAD POLITÉCNICA DE MADRID resumen y palabras clave Resumen: La presente investigación se centra en el estudio de la articulación es- pacial y del movimiento dentro de los videojuegos bidimensionales, cuyas limitaciones a nivel de desplazamiento afectan de manera gene- ral a la experiencia del jugador. Este estudio se aplicará en todos aquellos juegos cuyos diseños espa- ciales supongan un reto para el jugador y cuya interacción con estos sea mayor (mediante un avatar). Partimos de una serie de investiga- ciones que nos permiten entender los espacios de videojuegos desde diferentes perspectivas, ya sea su uso, las dimensiones representadas o la dimensionalidad de su gameplay. Sin embargo, no se ha estudia- do de manera concreta el modo de desplazarse por ellos, por lo que partiendo de estos datos espaciales y su cruce (comparando más de 80 juegos), se han recopilado una serie de patrones de movimiento bien diferenciados. Centrándonos en aquellos modelos aplicados en juegos de naturaleza gráfica 2D, se han analizado pormenorizadamente una serie de casos de estudio mediante unos ítems de análisis englobados en tres aspec- tos diferenciados: espacio (construcción y estructura de entornos vir- tuales), movimiento (desplazamientos y acciones) y jugabilidad (ex- periencias del propio jugador). -
1001 Video Games You Must Play Before You Die
1001 Video Games You Must Play Before You Die G = Completed B = Played R = Not played bold = in collection 1971-1980 (1 st GENERATION) 1. The Oregon Trail Multi-platform MECC 1971 2. Pong Multi-platform Atari 1972 1976-1992 (2 nd GENERATION) 3. Breakout Multi-platform Atari 1976 4. Boot Hill Arcade Midway 1977 5. Combat Atari 2600 Atari 1977 6. Space Invaders Arcade Taito 1978 7. Adventure Atari 2600 Atari 1979 8. Asteroids Arcade Atari 1979 9. Galaxian Arcade Namco 1979 10. Lunar Lander Arcade Atari 1979 11. Battle Zone Arcade Atari 1980 12. Defender Arcade Williams 1980 13. Eamon Apple II D. Brown 1980 14. Missile Command Arcade Atari 1980 15. Rogue Multi-platform M. Toy, G. Wichman, K. Arnold 1980 16. Tempest Arcade Atari 1980 17. MUD Multi-platform R. Trubshaw, R. Bartle 1980 18. Pac-Man Arcade Namco 1980 19. Phoenix Arcade Amstar Electronics 1980 20. Zork I Multi-platform Infocom 1980 21. Warlords Arcade / Atari 2600 Atari 1980 22. Centipede Arcade Atari 1980 23. Galaga Arcade Namco 1981 24. Donkey Kong Arcade Nintendo 1981 25. Qix Arcade R. Pfeiffer, S. Pfeiffer 1981 26. Scramble Arcade Konami 1981 27. Stargate Arcade Vid Kidz 1981 28. Venture Multi-platform Exidy 1981 29. Ms. Pac-Man Arcade Midway 1981 30. Frogger Arcade Konami 1981 31. Gorf Arcade Midway 1981 32. Ultima Multi-platform Origin Systems 1981 33. Gravitar Arcade Atari 1982 34. Joust Arcade Williams 1982 35. The Hobbit Multi-platform Beam Software 1982 36. Choplifter Multi-platform Brøderbund 1982 37. Robotron 2084 Arcade Williams 1982 38.