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The Resurrection of Permadeath: an Analysis of the Sustainability of Permadeath Use in Video Games
The Resurrection of Permadeath: An analysis of the sustainability of Permadeath use in Video Games. Hugh Ruddy A research paper submitted to the University of Dublin, in partial fulfilment of the requirements for the degree of Master of Science Interactive Digital Media 2014 Declaration I declare that the work described in this research paper is, except where otherwise stated, entirely my own work and has not been submitted as an exercise for a degree at this or any other university. Signed: ___________________ Hugh Ruddy 28th February 2014 Permission to lend and/or copy I agree that Trinity College Library may lend or copy this research Paper upon request. Signed: ___________________ Hugh Ruddy 28th February 2014 Abstract The purpose of this research paper is to study the the past, present and future use of Permadeath in video games. The emergence of Permadeath games in recent months has exposed the mainstream gaming population to the concept of the permanent death of the game avatar, a notion that has been vehemently avoided by game developers in the past. The paper discusses the many incarnations of Permadeath that have been implemented since the dawn of video games, and uses examples to illustrate how gamers are crying out for games to challenge them in a unique way. The aims of this are to highlight the potential that Permadeath has in the gaming world to become a genre by itself, as well as to give insights into the ways in which gamers play Permadeath games at the present. To carry out this research, the paper examines the motivation players have to play games from a theoretical standpoint, and investigates how the possibilty of failure in video games should not be something gamers stay away from. -
Permadeath in Dayz
Fear, Loss and Meaningful Play: Permadeath in DayZ Marcus Carter, Digital Cultures Research Group, The University of Sydney; Fraser Allison, Microsoft Research Centre for Social NUI, The University of Melbourne Abstract This article interrogates player experiences with permadeath in the massively multiplayer online first-person shooter DayZ. Through analysing the differences between ‘good’ and ‘bad’ instances of permadeath, we argue that meaningfulness – in accordance with Salen & Zimmerman’s (2003) concept of meaningful play – is a critical requirement for positive experiences with permadeath. In doing so, this article suggests new ontologies for meaningfulness in play, and demonstrates how meaningfulness can be a useful lens through which to understand player experiences with negatively valanced play. We conclude by relating the appeal of permadeath to the excitation transfer effect (Zillmann 1971), drawing parallels between the appeal of DayZ and fear-inducing horror games such as Silent Hill and gratuitously violent and gory games such as Mortal Kombat. Keywords DayZ, virtual worlds, meaningful play, player experience, excitation transfer, risk play Introduction It's truly frightening, like not game-frightening, but oh my god I'm gonna die-frightening. Your hands starts shaking, your hands gets sweaty, your heart pounds, your mind is racing and you're a wreck when it's all over. There are very few games that – by default – feature permadeath as significantly and totally as DayZ (Bohemia Interactive 2013). A new character in this massively multiplayer online first- person shooter (MMOFPS) begins with almost nothing, and must constantly scavenge from the harsh zombie-infested virtual world to survive. A persistent emotional tension accompanies the requirement to constantly find food and water, and a player will celebrate the discovery of simple items like backpacks, guns and medical supplies. -
The Effects of Portal 2 and Lumosity on Cognitive and Noncognitive Skills
Computers & Education 80 (2015) 58e67 Contents lists available at ScienceDirect Computers & Education journal homepage: www.elsevier.com/locate/compedu The power of play: The effects of Portal 2 and Lumosity on cognitive and noncognitive skills * Valerie J. Shute , Matthew Ventura, Fengfeng Ke Florida State University, College of Education, 1114 West Call Street, Tallahassee, FL 32306-4453, USA article info abstract Article history: In this study, we tested 77 undergraduates who were randomly assigned to play either a popular video Received 11 May 2014 game (Portal 2) or a popular brain training game (Lumosity) for 8 h. Before and after gameplay, par- Received in revised form ticipants completed a set of online tests related to problem solving, spatial skill, and persistence. Results 19 July 2014 revealed that participants who were assigned to play Portal 2 showed a statistically significant advantage Accepted 23 August 2014 over Lumosity on each of the three composite measuresdproblem solving, spatial skill, and persistence. Available online 30 August 2014 Portal 2 players also showed significant increases from pretest to posttest on specific small- and large- scale spatial tests while those in the Lumosity condition did not show any pretest to posttest differ- Keywords: Assessment ences on any measure. Results are discussed in terms of the positive impact video games can have on Persistence cognitive and noncognitive skills. Problem solving © 2014 Elsevier Ltd. All rights reserved. Spatial skills Videogames 1. Introduction Most children and young adults gravitate toward digital games. The Pew Internet and American Life Project surveyed 1102 youth be- tween the ages of 12 and 17 and found that 97%dboth males (99%) and females (94%)dplay some type of digital game (Lenhart et al., 2008). -
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. -
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. -
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. -
The Computational Complexity of Portal And
1 The Computational Complexity of Portal and 2 Other 3D Video Games 3 Erik D. Demaine 4 MIT CSAIL, 32 Vassar Street, Cambridge, MA 02139, USA 5 [email protected] 1 6 Joshua Lockhart 7 Department of Computer Science, University College London, London, WC1E 6BT, UK 8 [email protected] 9 Jayson Lynch 10 MIT CSAIL, 32 Vassar Street, Cambridge, MA 02139, USA 11 [email protected] 12 Abstract 13 We classify the computational complexity of the popular video games Portal and Portal 2. We 14 isolate individual mechanics of the game and prove NP-hardness, PSPACE-completeness, or 15 pseudo-polynomiality depending on the specific game mechanics allowed. One of our proofs 16 generalizes to prove NP-hardness of many other video games such as Half-Life 2, Halo, Doom, 17 Elder Scrolls, Fallout, Grand Theft Auto, Left 4 Dead, Mass Effect, Deus Ex, Metal Gear Solid, 18 and Resident Evil. These results build on the established literature on the complexity of video 19 games [1, 3, 7, 18]. 20 2012 ACM Subject Classification Dummy classification 21 Keywords and phrases video games, hardness, motion planning, NP, PSPACE 22 Digital Object Identifier 10.4230/LIPIcs.FUN.2018.19 23 Related Version arXiv:1611.10319 24 1 Introduction 25 In Valve’s critically acclaimed Portal franchise, the player guides Chell (the game’s silent 26 protagonist) through a “test facility” constructed by the mysterious fictional organization 27 Aperture Science. Its unique game mechanic is the Portal Gun, which enables the player 28 to place a pair of portals on certain surfaces within each test chamber. -
Video Games and English As a Second Language •
Video Games and English as a Second Language The Effect of Massive Multiplayer Online Video Games on the Willingness to Communicate and Communicative Anxiety of College Students in Puerto Rico • Kenneth S. Horowitz The informal setting of online multiplayer video games may offer safe spots for speakers of other languages learning English to practice their communi- cation skills and reduce their anxiety about using a second language. In this study, the author examined the relationship between both these concerns and the time spent playing such games by basic and intermediate English-as-a- second-language (ESL) college students in Puerto Rico. The results indicated a statistically significant relationship between them, supporting previous studies that establish a relationship between online multiplayer video game play and increased confidence and lowered anxiety about using English among second-language learners. Key words: affective filter; communica- tive anxiety (CA); English as a second language (ESL); massive multiplayer online role-playing games (MMORPG); willingness to communicate (WTC) As technology improves and online connectivity pervades many aspects of daily life, the ability to interact with others online grows more and more common- place. Text messaging and the use of social media have become standard means of communication for many individuals, and this level of connectivity carries over to video games. Online multiplayer video gaming is more popular now than ever before, thanks in part to the incredible strides game consoles and home computers have achieved in making online interactions smooth and acces- sible. More than half of those who play video games (53 percent) do so with others, spending more than six hours per week playing online (ESA 2017). -
Thighrim and Calf-Life: a Study of the Conversion of Off-The-Shelf Video Games Into Exergames Mallory Ketcheson, Luke Walker, T.C
Game and Design #chi4good, CHI 2016, San Jose, CA, USA Thighrim and Calf-Life: A Study of the Conversion of Off-the-Shelf Video Games into Exergames Mallory Ketcheson, Luke Walker, T.C. Nicholas Graham Queen’s University Kingston, ON, Canada {7mk39,8lw17,nicholas.graham}@queensu.ca ABSTRACT we will show, however, this style of black box conversion Exergames are a fun and engaging way to participate in fails to motivate high exertion levels in players. This is physical activity. Exergame players consistently require largely because off-the-shelf games were not designed with new content to maintain interest in the activity. One way to exercise in mind – the game’s activities can make it provide users with high quality content with minimal difficult to focus on exertion, and the game’s pacing may development work is to convert existing off-the-shelf not be conducive to fast pedaling. We propose that richer digital games into exergames by using the game’s conversions of off-the-shelf games can be performed using “modding” interface. To explore the potential of converted the modification (“modding”) tools that many games exergames for inspiring high exertion levels, we performed provide. Modding tools allow the public to create a conversion on two popular games: Half-Life 2 and The extensions of existing games. We show how mods can be Elder Scrolls V: Skyrim. The conversions were performed used to add Heart Rate (HR) Power-ups [16] to existing in two stages. The first stage mimics existing black box games, providing incentive for players to exert themselves. -
The Computational Complexity of Portal and Other 3D Video Games
The Computational Complexity of Portal and Other 3D Video Games Erik D. Demaine* Joshua Lockharty Jayson Lynch* Abstract We classify the computational complexity of the popular video games Portal and Portal 2. We isolate individual mechanics of the game and prove NP-hardness, PSPACE-completeness, or (pseudo)polynomiality depending on the specific game mechanics allowed. One of our proofs generalizes to prove NP-hardness of many other video games such as Half-Life 2, Halo, Doom, Elder Scrolls, Fallout, Grand Theft Auto, Left 4 Dead, Mass Effect, Deus Ex, Metal Gear Solid, and Resident Evil. These results build on the established literature on the complexity of video games [Vig14, ADGV14, For10,Cor04]. 1 Introduction In Valve’s critically acclaimed Portal franchise, the player guides Chell (the game’s silent protago- nist) through a “test facility” constructed by the mysterious fictional organization Aperture Science. Its unique game mechanic is the Portal Gun, which enables the player to place a pair of portals on certain surfaces within each test chamber. When the player avatar jumps into one of the portals, they are instantly transported to the other. This mechanic, coupled with the fact that in-game items can be thrown through the portals, has allowed the developers to create a series of unique and challenging puzzles for the player to solve as they guide Chell to freedom. Indeed, the Portal series has proved extremely popular, and is estimated to have sold more than 22 million copies [YP, stea, Cao,steb]. We analyze the computational complexity of Portal following the recent surge of interest in complexity analysis of video games and puzzles. -
Playing to Death • Ken S
Playing to Death • Ken S. McAllister and Judd Ethan Ruggill The authors discuss the relationship of death and play as illuminated by computer games. Although these games, they argue, do illustrate the value of being—and staying—alive, they are not so much about life per se as they are about providing gamers with a playground at the edge of mortality. Using a range of visual, auditory, and rule-based distractions, computer games both push thoughts of death away from consciousness and cultivate a percep- tion that death—real death—is predictable, controllable, reasonable, and ultimately benign. Thus, computer games provide opportunities for death play that is both mundane and remarkable, humbling and empowering. The authors label this fundamental characteristic of game play thanatoludism. Key words: computer games; death and play; thanatoludism Mors aurem vellens: Vivite ait venio. —Appendix Vergiliana, “Copa” Consider here a meditation on death. Or, more specifically, a meditation on play and death, which are mutual and at times even complementary pres- ences in the human condition. To be clear, by meditation we mean just that: a pause for contemplation, reflection, and introspection. We do not promise an empirical, textual, or theoretical analysis, though there are echos of each in what follows. Rather, we intend an interlude in which to ponder the interconnected phenomena of play and death and to introduce a critical tool—terror manage- ment theory—that we find helpful for thinking about how play and death interact in computer games. Johan Huizinga (1955) famously asserted that “the great archetypal activi- ties of human society are all permeated with play from the start” (4). -
Death Narratives: a Typology of Narratological Embeddings of Player's Death in Digital Games by Frank G
Untitled. Photographer: Pawel Kadysz (https://stocksnap.io/photo/OZ4IBMDS8E). Special Issue Video Gaming and Death edited by John W. Borchert Issue 09 (2018) articles Introduction to a Special Issue on Video Gaming and Death by John W. Borchert, 1 Death Narratives: A Typology of Narratological Embeddings of Player's Death in Digital Games by Frank G. Bosman, 12 No Sympathy for Devils: What Christian Video Games Can Teach Us About Violence in Family-Friendly Entertainment by Vincent Gonzalez, 53 Perilous and Peril-Less Gaming: Representations of Death with Nintendo’s Wolf Link Amiibo by Rex Barnes, 107 “You Shouldn’t Have Done That”: “Ben Drowned” and the Uncanny Horror of the Haunted Cartridge by John Sanders, 135 Win to Exit: Perma-Death and Resurrection in Sword Art Online and Log Horizon by David McConeghy, 170 Death, Fabulation, and Virtual Reality Gaming by Jordan Brady Loewen, 202 The Self Across the Gap of Death: Some Christian Constructions of Continued Identity from Athenagoras to Ratzinger and Their Relevance to Digital Reconstitutions by Joshua Wise, 222 reviews Graveyard Keeper. A Review by Kathrin Trattner, 250 interviews Interview with Dr. Beverley Foulks McGuire on Video-Gaming, Buddhism, and Death by John W. Borchert, 259 reports Dying in the Game: A Perceptive of Life, Death and Rebirth Through World of Warcraft by Wanda Gregory, 265 Death Narratives: A Typology of Narratological Embeddings of Player's Death in Digital Games Frank G. Bosman Abstract Ludologically, the death of the game’s protagonist (also known as player’s death of avatar death) is one of the most prominent feedback systems of almost all digital games.