Videogame ecologies: interaction, aesthetics, affect

This project is driven by omissions at the intersection of ecological game studies and media-ecology. Although authors have studied videogames from a variety of ecological approaches, few have attempted to develop a holistic methodology, embracing videogames' specific attributes while recognising their role within larger physical systems. This thesis is an attempt to address this, reading videogames as simultaneously about and functioning as ecologies. My methodology draws on the agential-realist philosophy of Karen Barad whose theory of 'intra-activity' is abundant with ecological ramifications. Adapting Barad's 'intra-active' framework for use with contemporary videogames, I read them as assemblages of hardware, software and their human players. I explore three significant aspects of game studies: interaction, aesthetics and affect. Focusing on interaction, I analyse the game Shelter. Emphasising the role of hardware and software, I read these processes in conjunction with an understanding of gameplay. This encourages a shift away from seeing gameplay as 'interaction' as it is defined within human-computer-interaction, and instead promotes a view that is 'intra-active'. Siding with Barad, play is radically reframed as a phenomenon that produces the apparent objects of its inception. In the second study I approach a series of more experimental games illustrating how an agential-realist worldview influences aesthetics. Analysing high-concept puzzle games Superhot, Antichamber, and Manifold Garden, I suggest that these games place a focus on aspects of ecology often over-shadowed in so-called 'natural' imaginings of our world, such as time, space and their entanglement. Finally, bringing my focus to the role of the player in my ecological understanding of games I analyse a number of short, human-centred or biographical games. Seeing the role of the player in an ecological manner, designers deviate from traditional methods of generating pathos and affect. Rather than developing empathetic relationships between player and avatar through immersion, viewing the player as only a part of an ecological system demands a posthuman response from players. These designers ask players to empathise while acknowledging their role is small and not central. This thesis presents a novel point of view that draws attention to the ambitious design practices of artists while suggesting new avenues in the future

Critical Programming: Toward a Philosophy of Computing

Beliefs about the relationship between human beings and computing machines and their destinies have alternated from heroic counterparts to conspirators of automated genocide, from apocalyptic extinction events to evolutionary cyborg convergences. Many fear that people are losing key intellectual and social abilities as tasks are offloaded to the everywhere of the built environment, which is developing a mind of its own. If digital technologies have contributed to forming a dumbest generation and ushering in a robotic moment, we all have a stake in addressing this collective intelligence problem. While digital humanities continue to flourish and introduce new uses for computer technologies, the basic modes of philosophical inquiry remain in the grip of print media, and default philosophies of computing prevail, or experimental ones propagate false hopes. I cast this as-is situation as the post-postmodern network dividual cyborg, recognizing that the rational enlightenment of modernism and regressive subjectivity of postmodernism now operate in an empire of extended mind cybernetics combined with techno-capitalist networks forming societies of control. Recent critical theorists identify a justificatory scheme foregrounding participation in projects, valorizing social network linkages over heroic individualism, and commending flexibility and adaptability through life long learning over stable career paths. It seems to reify one possible, contingent configuration of global capitalism as if it was the reflection of a deterministic evolution of commingled technogenesis and synaptogenesis. To counter this trend I offer a theoretical framework to focus on the phenomenology of software and code, joining social critiques with textuality and media studies, the former proposing that theory be done through practice, and the latter seeking to understand their schematism of perceptibility by taking into account engineering techniques like time axis manipulation. The social construction of technology makes additional theoretical contributions dispelling closed world, deterministic historical narratives and requiring voices be given to the engineers and technologists that best know their subject area. This theoretical slate has been recently deployed to produce rich histories of computing, networking, and software, inform the nascent disciplines of software studies and code studies, as well as guide ethnographers of software development communities. I call my syncretism of these approaches the procedural rhetoric of diachrony in synchrony, recognizing that multiple explanatory layers operating in their individual temporal and physical orders of magnitude simultaneously undergird post-postmodern network phenomena. Its touchstone is that the human-machine situation is best contemplated by doing, which as a methodology for digital humanities research I call critical programming. Philosophers of computing explore working code places by designing, coding, and executing complex software projects as an integral part of their intellectual activity, reflecting on how developing theoretical understanding necessitates iterative development of code as it does other texts, and how resolving coding dilemmas may clarify or modify provisional theories as our minds struggle to intuit the alien temporalities of machine processes

Rulemaking as Play: A Transdisciplinary Inquiry about Virtual Worldmaking

In the age of computing, we rely on software to manage our days, from the moment we wake up until we go to sleep. Software predicts the future based on actualized data from the past. It produces procedures instead of experiences and solutions instead of care. Software systems tend to perpetuate a normalized state of equilibrium. Their application in social media, predictive policing, and social profiling is increasingly erasing diversity in culture and identity. Our immediate reality is narrowing towards cultural conventions shared among the powerful few, whose voices directly influence contemporary digital culture. On the other hand, computational collective intelligence can sometimes generate emergent forces to counter this tendency and force software systems to open up. Historically, artists from different artistic moments have adopted collaborative making to redefine the boundary of creative expression. Video Gaming, especially open-world simulation games, is rapidly being adopted as an emerging form of communication, expression, and self-organization. How can gaming conventions such as Narrative Emergence, Hacking, and Modding help us understand collective play as countering forces against the systematic tendency of normalization? How can people from diverse backgrounds come together to contemplate, make, and simulate rules and conditions for an alternative virtual world? What does it mean to design and virtually inhabit a world where rules are rewritten continuously by everyone, and no one is in control

Agents for educational games and simulations

This book consists mainly of revised papers that were presented at the Agents for Educational Games and Simulation (AEGS) workshop held on May 2, 2011, as part of the Autonomous Agents and MultiAgent Systems (AAMAS) conference in Taipei, Taiwan. The 12 full papers presented were carefully reviewed and selected from various submissions. The papers are organized topical sections on middleware applications, dialogues and learning, adaption and convergence, and agent applications

Videogames, interfaces, and the body: the importance of embodied phenomenon to the experience of videogame play

This thesis is concerned with setting out the importance of embodied phenomena to the experience of videogame play, and exploring the implications of those phenomena for how we understand the experience of videogame play. In particular, it argues that if we are to understand the experience of playing videogames as it is experienced by the player, we need to reorientate our approach to foreground the experience of the player. By taking this path it diverges from much, if not most, extant research on the experience of videogame play, which, it is argued, focuses more on theorising the likely effects or outcomes of particular formal qualities or design decisions, rather than how the experience of videogame play in itself emerges from the interaction between the embodied player and the videogame during the course of play. This approach opens up the phenomena of videogame play to more detailed and grounded accounts of the player’s relation to the interface used to play, the nature of the experience of engagement in the course of play, and the deep involvement of the body in the experience of play. The approach and theoretical framework employed in this thesis is influenced by Dourish’s notion of embodied interaction, which is adapted to the context of videogame play through further consideration and employment of phenomenological concepts, such as Merleau-Ponty’s work on the importance of our embodied being and of habituated bodily experience, and Heidegger’s differentiation between the ready-to-hand and the present-at-hand, to the articulation of the experience of videogame play. This leads to the key recurring thematic concern of this thesis, namely the role played by the interface in the experience of videogame play. Over the course of several chapters a more expansive conceptual model of the interface than the more technically based definitions usually employed is developed. This expanded conceptualisation of the interface is applied to the nature of the interface itself, the role played by its physical aspects, and how it affords the player access to, and a sense of presence within, the game-world. By understanding the embodied relation between the player and the interface used to play the importance of the phenomena of bodily experience is made visible, and opens up the phenomena of videogame play to more detailed and grounded accounts of the player’s relation to the interface used to play, the nature of the experience of engagement in the course of play, and the deep involvement of the body in the experience of play. What emerges from such an approach is not only an increased understanding of the nature of the experience of videogame play, but also of the centrality of embodiment to that experience. This centrality of embodiment to the experience of videogame play is demonstrated in the final chapter, which employs the work done over the course of the thesis to examine and articulate the phenomenological experience of movement within game-worlds

Proceedings of the CUNY Games Conference 4.0: The Interactive Course

Proceedings of the CUNY Games Conference, held from January 22-23, 2018, at the CUNY Graduate Center and Borough of Manhattan Community College. Critical Play with History (Panel) - Composition & Storytelling - Health & Cognitive Sciences - Gaming Anthropology: Teaching Culture and Power Through Games and Design (Panel) - Twine & Writing Games - Easy Ideas II - STEM Games - Global Games for Change Catalog (Panel) - Comics & Active Learning - Fact Checking & Research - Computer Science & Game Design - SimGlobal: Building a Serious Roleplay Course for the Social Sciences (Panel) - Role Playing Games, Narrative, & Story - Course Review Through Games - Business & Finance Games - Game Design and Programming in Unity - What’s Your Game Plan? - The Allure of Play in the Classroo

Dynamic theme-based narrative systems

The advent of videogames, and the new forms of expressions they offered, sprouted the possibility of presenting narratives in ways that could capitalize on unique qualities of the media, most notably the agency found in their interactive nature. In spite of many people in the game studies’ field interested in how far said novelty could bring narrative experiences, most approached the creation of narrative systems from a structural approach (especially the classical Aristotelian one), and concurrently, with a bottom-up (characters defining a world) or top-down (world defining characters) perspective. While those more mainstream takes have been greatly progressing what interactive digital narrative can be, this research intended to take a bit of a detour, proposing a functionally similar system that emphasized thematic coherence and responsiveness above all else. Once the theoretical formulation was done, taking into consideration previously similar or tangential systems, a prototype would be developed to make a first step towards validating the proposal, and contribute to building a better understanding of the field’s possibilities

Co-operative coevolution for computational creativity: a case study In videogame design

The term procedural content generation (PCG) refers to writing software which can synthesise content for a game (or other media such as film) without further intervention from a designer. PCG has become a rich area of research in recent years, finding new ways to apply artificial intelligence to generate high-quality game content such as levels, weapons or puzzles for games. Such research is generally constrained to a single type of content, however, with the assumption that the remainder of the game's design will be fixed by an external designer. Generating many aspects of a game's design simultaneously, perhaps ultimately generating the entirety of a game's design, using PCG is not a well-explored idea. The notion of automated game design is not well-established, and is not seen as a task distinct from simply performing lots of PCG tasks at the same time. In particular, the high-level design tasks guiding the creative direction of a game are all but completely absent in PCG literature, because it is rare that a designer wishes to hand over such responsibility to a PCG system. We present here ANGELINA, an automated game designer that has developed games using a multi-faceted approach to content generation underpinned by a co-operative co-evolutionary approach which breaks down a game design into several distinct tasks, each of which controlled by an evolutionary subsystem within ANGELINA. We will show that this approach works well to automate game design, can be ported across many game engines and game genres, and can be enhanced and extended using novel computational creativity techniques to give the system a heightened sense of autonomy and independence.Open Acces

I Am Error

I Am Error is a platform study of the Nintendo Family Computer (or Famicom), a videogame console first released in Japan in July 1983 and later exported to the rest of the world as the Nintendo Entertainment System (or NES). The book investigates the underlying computational architecture of the console and its effects on the creative works (e.g. videogames) produced for the platform. I Am Error advances the concept of platform as a shifting configuration of hardware and software that extends even beyond its ‘native’ material construction. The book provides a deep technical understanding of how the platform was programmed and engineered, from code to silicon, including the design decisions that shaped both the expressive capabilities of the machine and the perception of videogames in general. The book also considers the platform beyond the console proper, including cartridges, controllers, peripherals, packaging, marketing, licensing, and play environments. Likewise, it analyzes the NES’s extension and afterlife in emulation and hacking, birthing new genres of creative expression such as ROM hacks and tool-assisted speed runs. I Am Error considers videogames and their platforms to be important objects of cultural expression, alongside cinema, dance, painting, theater and other media. It joins the discussion taking place in similar burgeoning disciplines—code studies, game studies, computational theory—that engage digital media with critical rigor and descriptive depth. But platform studies is not simply a technical discussion—it also keeps a keen eye on the cultural, social, and economic forces that influence videogames. No platform exists in a vacuum: circuits, code, and console alike are shaped by the currents of history, politics, economics, and culture—just as those currents are shaped in kind

‘IMPLICIT CREATION’ – NON-PROGRAMMER CONCEPTUAL MODELS FOR AUTHORING IN INTERACTIVE DIGITAL STORYTELLING

Interactive Digital Storytelling (IDS) constitutes a research field that emerged from several areas of art, creation and computer science. It inquires technologies and possible artefacts that allow ‘highly-interactive’ experiences of digital worlds with compelling stories. However, the situation for story creators approaching ‘highly-interactive’ storytelling is complex. There is a gap between the available technology, which requires programming and prior knowledge in Artificial Intelligence, and established models of storytelling, which are too linear to have the potential to be highly interactive. This thesis reports on research that lays the ground for bridging this gap, leading to novel creation philosophies in future work. A design research process has been pursued, which centred on the suggestion of conceptual models, explaining a) process structures of interdisciplinary development, b) interactive story structures including the user of the interactive story system, and c) the positioning of human authors within semi-automated creative processes. By means of ‘implicit creation’, storytelling and modelling of simulated worlds are reconciled. The conceptual models are informed by exhaustive literature review in established neighbouring disciplines. These are a) creative principles in different storytelling domains, such as screenwriting, video game writing, role playing and improvisational theatre, b) narratological studies of story grammars and structures, and c) principles of designing interactive systems, in the areas of basic HCI design and models, discourse analysis in conversational systems, as well as game- and simulation design. In a case study of artefact building, the initial models have been put into practice, evaluated and extended. These artefacts are a) a conceived authoring tool (‘Scenejo’) for the creation of digital conversational stories, and b) the development of a serious game (‘The Killer Phrase Game’) as an application development. The study demonstrates how starting out from linear storytelling, iterative steps of ‘implicit creation’ can lead to more variability and interactivity in the designed interactive story. In the concrete case, the steps included abstraction of dialogues into conditional actions, and creating a dynamic world model of the conversation. This process and artefact can be used as a model illustrating non-programmer approaches to ‘implicit creation’ in a learning process. Research demonstrates that the field of Interactive Digital Storytelling still has to be further advanced until general creative principles can be fully established, which is a long-term endeavour, dependent upon environmental factors. It also requires further technological developments. The gap is not yet closed, but it can be better explained. The research results build groundwork for education of prospective authors. Concluding the thesis, IDS-specific creative principles have been proposed for evaluation in future work