Interaction and Expressivity in Video Games: Harnessing the Rhetoric of Film

The film-maker uses the camera and editing creatively, not simply to present the action of the film but also to set up a particular relation between the action and the viewer. In 3D video games with action controlled by the player, the pseudo camera is usually less creatively controlled and has less effect on the player’s appreciation of and engagement with the game. This paper discusses methods of controlling games by easy and intuitive interfaces and use of an automated virtual camera to increase the appeal of games for users

The Virtual Storyteller: story generation by simulation

The Virtual Storyteller is a multi-agent framework that generates stories based on a concept called emergent narrative. In this paper, we describe the motivation and approach of the Virtual Storyteller, and give an overview of the computational processes involved in the story generation process. We also discuss some of the challenges posed by our chosen approach

Dialectical Polyptych: an interactive movie installation

Most of the known video games developed by important software companies usually establish an approach to the cinematic language in an attempt to create a perfect combination of narrative, visual technique and interaction. Unlike most video games, interactive film narratives normally involve an interruption in time whenever the spectator has to make choices. “Dialectical Polyptych” is an interactive movie included in a project called “Characters looking for a spectactor”, which aims to give the spectator on-the-fly control over film editing, thus exploiting the role of the spectator as an active subject in the presented narrative. This paper presents an installation based on a mobile device, which allows seamless real-time interactivity with the movie. Different finger touches in the screen allow the spectator to alternate between two parallel narratives, both producing a complementary narrative, and change the angle or shot within each narrative.info:eu-repo/semantics/publishedVersio

Authorizing Tolkien: Control, Adaptation, and Dissemination of J.R.R. Tolkien\u27s Works

This article is the introduction to the special theme issue consisting of four essays on Authorizing Tolkien. Reid and Elam discuss medieval and postmodern theories of adaptation and interpretation and introduce the essays in the issue

Narratology

This essay provides an overview of the different types of study that can be conducted when considering the narrative aspects of video game play. It contextualizes this research among the larger movements of narratology, particularly concerning the structuralist roots of the discipline and the parallels between gameplay and narrative structures. A brief overview of the key points of the ludology/narratology debate is made, followed by an introduction to the three domains of narrative in video game studies: story content, story structures, and narration as the discursive mode that games use to relay the game-state

Inchcolm project

Inchcolm Project is part of an interdisciplinary research project which develops new ways of designing for the moving body across media, by combining aesthetics and design methods from contemporary performance practice and video games. As such, it brought a video game (Dear Esther, The Chinese Room, 2012) to life on a Scottish island (Inchcolm island in the Firth of Forth). During the two hour experience on Inchcolm the audience/players wander freely on the island encountering geo-tagged audio, live music, performers and installation spaces evocative of the game world, a playthrough of the game projected in the 12th century Inchcolm abbey, and an orchestral performance of the video game’s soundtrack (composed by Jessica Curry, arranged by Luci Holland and David Jamieson, performed by Mantra Collective)

“Another story for another time": The many-strandedness of a Jewish woman's storytelling tradition

This article is a cursory outline description of the Marks-Khymberg family tradition of Anglo-Dutch Jewish oral narrative, in its context, culminating in a preliminary analysis of one sub-cycle of tales drawn from the family repertoire.N/

Gamification of sports media coverage: an infotainment approach to Olympics and Football World Cups

Sports media coverage of mega-events is partly oriented to gamification, the use of game elements and game design techniques in non-gaming contexts. This infotainment approach to events has been developed by media outlets as an original and effective way to capture wider audience attention and to place events in context before a competition starts. This article examines 28 gamified sports pieces developed by media outlets from seven countries during the last two Olympics (2016 Summer Olympics in Rio and 2018 Winter Olympics in Pyeongchang) and Football World Cups (2014 in Brazil and 2018 in Russia). This sample comprises two categories following Ferrer-Conill (2015): “gamified pieces” (game like elements that are part of a bigger interactive feature) and “newsgames” (more sophisticated pieces often included in complex graphics or multimedia content). The results show that, despite its entertaining formula, gamification serves mainly informational purposes and adds value to sports coverage. Especially in the Summer and Winter Olympics, gamified sports pieces tend to be explanatory and data-driven in order to inform the audience about nonmainstream sports