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The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism by Sarah E. Thorne A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2018, Sarah E. Thorne Abstract The past decade has seen an increase in the availability of user-friendly game development software, the result of which has been the emergence of a genre of reflexive and experimental games. Pippin Barr, La Molleindustria’s Paolo Pedercini, and Davey Wreden are exemplary in their thoughtful engagement with an ever-expanding list of subjects, including analyses and critiques of game development, popular culture, and capitalism. These works demonstrate the power of games as a site for critical media theory. This potential, however, is hindered by the player-centric trends in the game industry that limit the creative freedom of developers whose work is their livelihood. In the era of communicative capitalism, Jodi Dean argues that the commodification of communication has suspended narrative in favour of the circulation of fragmented and digestible opinions, which not only facilitates the distribution and consumption of communication, but also safeguards communicative capitalism against critique. Ultimately, the very same impulse that drives communicative capitalism is responsible for the player-centric trends that some developers view as an obstacle to their art. Critical game studies has traditionally fallen into two categories: those that emphasize the player as the locus of critique, such as McKenzie Wark’s trifler or Mary Flanagan’s critical play, and those that emphasize design, as in Alexander Galloway’s countergaming, Ian Bogost’s procedural rhetoric, and Gonzalo Frasca’s theory of simulation. -
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CO-AUTHORIAL NARRATIVE Attempting to Draw a Border in the No Man’S Land That Is Emergent Narrative
nrik v He d a apa l sk Ma CO-AUTHORIAL NARRATIVE Attempting to draw a border in the no man’s land that is Emergent Narrative Master Degree Project in Media, Aesthetics and Narration A1E One year Level XX ECTS Spring semester 2021 Tim Grödem Supervisor: Lars Kristensen Examiner: Rebecca Rouse Abstract This study aims to define the area that fall in-between predetermined and emergent narratives and pitches the term of “co-authorial narrative” to describe it. Co-authorial narratives are defined by their design of splitting the responsibility of authorship between the developer and the player. The purpose of the study is to prove this concept, with the overall goal of broadening the understanding of emergent narrative. Keywords: Co-authorial narrative, emergent narrative, predetermined narrative, interactive digital storytelling, authorship in games. Acknowledgements I owe a big thanks to my dear friend Oscar Andersson who I started this journey with back in 2019 when we did our Bachelor’s thesis together. Would that we could have done this thesis work together as well, but although he could not join me in an official capacity this time around he nevertheless played a huge role in the creation of this article. I doubt I’ve had a single thought that I didn’t first float by him, and the value of his support cannot be overstated. I’d also like to thank my tutor Lars Kristensen who was the examiner of mine and Oscar’s Bachelor thesis. He always showed genuine interest in our work and he’s always encouraged us to continue. -
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Videogame Visions of Climate Futures: ARMA 3 and Implications for Games And
Videogame Visions of Climate Futures: ARMA 3 and Implications for Games and Persuasion Benjamin Abraham Abstract: This paper discusses ARMA 3 (2013), a military simulation game from Bohemia Interactive. Through the placement of prominent visual representations of renewable power generation in ARMA 3’s islands, the game offers a compelling vision of the future in which current resistance to low-carbon and renewable economies has been overcome. I argue that the potential of this vision to challenge existing cultural futures and imaginaries is dependent on its presentation aesthetically and not, as is often suggested by current games literature, on game mechanics operating in a ‘persuasive’ or didactic mode. Instead, I argue that ARMA 3’s ‘aesthetic vision’ possesses the ability to skirt around the ideological resistances players may have about accepting more explicit or direct modes of addressing the highly charged and ideologically contested reality of anthropogenic climate change. In this way I suggest ARMA 3 offers a compelling challenge to current theories about games ability to influence players. Keywords: videogame aesthetics, climate change, ideology, persuasive games, game design Bio: Benjamin Abraham received his PhD from the University of Western Sydney in 2015, having researched for a number of years internet communities including games criticism communities, and the political and philosophical issues around the responsibility of non-human actors. His academic work has been published in both Digital Culture & Education and Fibreculture -
Studying the Urgent Updates of Popular Games on the Steam Platform
Noname manuscript No. (will be inserted by the editor) Studying the Urgent Updates of Popular Games on the Steam Platform Dayi Lin · Cor-Paul Bezemer · Ahmed E. Hassan Received: date / Accepted: date Abstract The steadily increasing popularity of computer games has led to the rise of a multi-billion dollar industry. This increasing popularity is partly enabled by online digital distribution platforms for games, such as Steam. These platforms offer an insight into the development and test processes of game developers. In particular, we can extract the update cycle of a game and study what makes developers deviate from that cycle by releasing so-called urgent updates. An urgent update is a software update that fixes problems that are deemed critical enough to not be left unfixed until a regular-cycle update. Urgent updates are made in a state of emergency and outside the regular development and test timelines which causes unnecessary stress on the development team. Hence, avoiding the need for an urgent update is important for game developers. We define urgent updates as 0-day updates (updates that are released on the same day), updates that are released faster than the regular cycle, or self-admitted hotfixes. We conduct an empirical study of the urgent updates of the 50 most popular games from Steam, the dominant digital game delivery platform. As urgent updates are re- flections of mistakes in the development and test processes, a better understanding of urgent updates can in turn stimulate the improvement of these processes, and even- tually save resources for game developers. In this paper, we argue that the update strategy that is chosen by a game developer affects the number of urgent updates that are released. -
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UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations
UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Curating Simulated Storyworlds Permalink https://escholarship.org/uc/item/1340j5h2 Author Ryan, James Publication Date 2018 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ CURATING SIMULATED STORYWORLDS A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTATIONAL MEDIA by James Ryan December 2018 The Dissertation of James Ryan is approved: Michael Mateas, Chair Noah Wardrip-Fruin Ian Horswill Jonathan Lessard Lori Kletzer Vice Provost and Dean of Graduate Studies Copyright © by James Ryan 2018 Table of Contents List of Figures viii List of Tables xi Abstract xii Dedication xiv Acknowledgments xv 1 Introduction 1 I Why and How 16 2 Defining Emergent Narrative 17 2.1 A Definition . 17 2.2 Origins of the Term . 27 2.3 Brief Overview . 34 3 The Pleasure of Emergent Narrative 37 3.1 Analogous Forms . 38 3.1.1 Analogy to Nonfiction . 38 3.1.2 Analogy to Stories of Lived Experience . 75 3.1.3 Analogy to Worldbuilding . 83 3.1.4 Analogy to Art Brut . 87 3.2 The Aesthetics of Emergent Narrative . 92 3.2.1 Aesthetics of the Actual . 92 3.2.2 Aesthetics of the Personal . 93 3.2.3 Aesthetics of a Larger Context . 93 3.2.4 Aesthetics of the Uncanny . 93 3.2.5 Aesthetics of the Unauthored . 94 iii 3.2.6 Aesthetics of the Coauthored . -
Gaming for Meaning: Video Games and Evolving Reader Response Reannon Dykehouse Northern Michigan University, [email protected]
Northern Michigan University NMU Commons All NMU Master's Theses Student Works 5-2017 Gaming for Meaning: Video Games and Evolving Reader Response Reannon Dykehouse Northern Michigan University, [email protected] Follow this and additional works at: https://commons.nmu.edu/theses Part of the Modern Literature Commons Recommended Citation Dykehouse, Reannon, "Gaming for Meaning: Video Games and Evolving Reader Response" (2017). All NMU Master's Theses. 132. https://commons.nmu.edu/theses/132 This Open Access is brought to you for free and open access by the Student Works at NMU Commons. It has been accepted for inclusion in All NMU Master's Theses by an authorized administrator of NMU Commons. For more information, please contact [email protected],[email protected]. GAMING FOR MEANING: VIDEO GAMES AND EVOLVING READER RESPONSE By Reannon Dykehouse THESIS Submitted to Northern Michigan University In partial fulfillment of the requirements For the degree of MASTER OF ARTS Office of Graduate Education and Research March 2017 SIGNATURE APPROVAL FORM GAMING FOR MEANING: VIDEO GAMES AND EVOLVING READER RESPONSE This thesis by Reannon Dykehouse is recommended for approval by the student’s Thesis Committee and Department Head in the Department of English and by the Interim Director of Graduate Education. __________________________________________________________ Committee Chair: Russell Prather Date __________________________________________________________ First Reader: Rachel May Date __________________________________________________________ -
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Comparing the Structures and Characteristics of Different Game Social Networks - the Steam Case
Comparing the Structures and Characteristics of Different Game Social Networks - The Steam Case Enrica Loria Alessia Antelmi Johanna Pirker ISDS Institute Dipartimento di Informatica ISDS Institute Graz University of Technology Universita` degli Studi di Salerno Graz University of Technology Graz, Austria Salerno, Italy Graz, Austria [email protected] [email protected] [email protected] Abstract—In most games, social connections are an essential single-player games communities. Those works are generally part of the gaming experience. Players connect in communities interested in connecting social interaction patterns to players’ inside or around games and form friendships, which can be activity and engagement in the specific context without analyz- translated into other games or even in the real world. Recent research has investigated social phenomena within the player ing the community at a higher level and making a cross-game social network of several multiplayer games, yet we still know comparison. Players connect in the game, social platforms, and very little about how these networks are shaped and formed. game providers. As a result, the investigation of the social Specifically, we are unaware of how the game type and its nature of games is more complex than just analyzing in- mechanics are related to its community structure and how those game social networks. Nevertheless, we are still unaware of structures vary in different games. This paper presents an initial analysis of Steam users and how friendships on Steam are how and whether the characteristics of games reflect on the formed around 200 games. We examine the friendship graphs way players connect and which are the design elements or of these 200 games by dividing them into clusters to compare mechanics fostering more cohesive communities. -
Du Ludique Au Narratif. Enjeux Narratologiques Des Jeux Vidéo
Sciences du jeu 9 | 2018 Du ludique au narratif. Enjeux narratologiques des jeux vidéo Édition électronique URL : http://journals.openedition.org/sdj/894 DOI : 10.4000/sdj.894 ISSN : 2269-2657 Éditeur Laboratoire EXPERICE - Centre de Recherche Interuniversitaire Expérience Ressources Culturelles Education Référence électronique Sciences du jeu, 9 | 2018, « Du ludique au narratif. Enjeux narratologiques des jeux vidéo » [En ligne], mis en ligne le 28 mai 2018, consulté le 04 novembre 2020. URL : http://journals.openedition.org/sdj/ 894 ; DOI : https://doi.org/10.4000/sdj.894 Ce document a été généré automatiquement le 4 novembre 2020. La revue Sciences du jeu est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 SOMMAIRE Dossier thématique Présentation Sébastien Genvo La Focalis-action : Des savoirs narratifs aux faires vidéoludiques Hugo Montembeault et Bernard Perron Métalepses du récit vidéoludique et reviviscence du sentiment de transgression Sébastien Allain Entre jeux épisodiques et séries télévisées, l’émergence de formes de narration vidéoludique inédites ? Marida Di Crosta Temps de la chose-racontée et temps du récit vidéoludique : comment le jeu vidéo raconte ? Rémi Cayatte L’immersion fictionnelle au-delà de la narrativité Gabrielle Trépanier-Jobin et Alexane Couturier Aux frontières de la fiction : l’avatar comme opérateur de réflexivité Fanny Barnabé et Julie Delbouille La mise au jeu mise en récit Présentation du SHAC (Système