Stand Fast, Stand Strong, Stand Together

Since the release of ME 1 in 2007, the Mass Effect universe has rapidly expanded: two sequels, three mobile platform spin-off games, five graphic novels, ten comic books, two film adaptations, as well as the parallel Andromeda series. As such, the Mass Effect mythos is immense and highly refined; for readers unfamiliar with the series, a general summary of the storyline of each game can be found in Appendix A. This analysis will try to streamline all necessary story-related information in as straightforward a manner as possible, but the use of some story-specific terminology, however, is unavoidable. Moving forward, all underlined terms will be defined in greater detail in the Glossary of Terms found in Appendix B. While referring to the index is not necessary for general comprehension, it will enhance understanding of the plot for those unfamiliar with Mass Effect.https://remix.berklee.edu/graduate-studies-scoring/1036/thumbnail.jp

Agency in and around videogames

This thesis conceptualises player agency in avatar-based videogames as an affordance of game design (Gibson 1979). By examining how agency is discussed in different discourses surrounding videogames, such as those of game studies and game design, it puts forward a multidimensional heuristic framework for conceptualising agency in avatar-based games. Game studios with a particular design focus that draw on ‘game design lineages’ (Bateman and Zagal 2018) feature as case studies to demonstrate the analytical power of this framework, examining how agency is designed, and how developers discuss how it is designed. The combined methods of textual and paratextual analysis provides insight not only into how game designers think about agency but also into how design intentions can translate into features of the released game. Such an approach facilitates a way of looking at agency as designed, which is informed by the vocabularies of academic discussions concerning videogames, as well as the language used to refer to these phenomena by industry practitioners, thereby grounding abstract theory in production practices and discourses

Agency in and around videogames

This thesis conceptualises player agency in avatar-based videogames as an affordance of game design (Gibson 1979). By examining how agency is discussed in different discourses surrounding videogames, such as those of game studies and game design, it puts forward a multidimensional heuristic framework for conceptualising agency in avatar-based games. Game studios with a particular design focus that draw on ‘game design lineages’ (Bateman and Zagal 2018) feature as case studies to demonstrate the analytical power of this framework, examining how agency is designed, and how developers discuss how it is designed. The combined methods of textual and paratextual analysis provides insight not only into how game designers think about agency but also into how design intentions can translate into features of the released game. Such an approach facilitates a way of looking at agency as designed, which is informed by the vocabularies of academic discussions concerning videogames, as well as the language used to refer to these phenomena by industry practitioners, thereby grounding abstract theory in production practices and discourses

Integrated transcriptomic and proteomic analyses ofP. falciparumgametocytes: molecular insight into sex-specific processes and translational repression

Sexual differentiation of malaria parasites into gametocytes in the vertebrate host and subsequent gamete fertilization in mosquitoes is essential for the spreading of the disease. The molecular processes orchestrating these transitions are far from fully understood. Here, we report the first transcriptome analysis of male and female Plasmodium falciparum gametocytes coupled with a comprehensive proteome analysis. In male gametocytes there is an enrichment of proteins involved in the formation of flagellated gametes; proteins involved in DNA replication, chromatin organization and axoneme formation. On the other hand, female gametocytes are enriched in proteins required for zygote formation and functions after fertilization; protein-, lipid- and energy-metabolism. Integration of transcriptome and proteome data revealed 512 highly expressed maternal transcripts without corresponding protein expression indicating large scale translational repression in P. falciparum female gametocytes for the first time. Despite a high degree of conservation between Plasmodium species, 260 of these 'repressed transcripts' have not been previously described. Moreover, for some of these genes, protein expression is only reported in oocysts and sporozoites indicating that repressed transcripts can be partitioned into short- and long-term storage. Finally, these data sets provide an essential resource for identification of vaccine/drug targets and for further mechanistic studies

Identification of genes required for glucan exopolysaccharide production in Lactobacillus johnsonii suggests a novel mechanism of biosynthesis

Lactobacillus johnsonii FI9785 makes two capsular exopolysaccharides-a heteropolysaccharide (EPS2) encoded by the eps operon and a branched glucan homopolysaccharide (EPS1). The homopolysaccharide is synthesized in the absence of sucrose, and there are no typical glucansucrase genes in the genome. Quantitative proteomics was used to compare the wild type to a mutant where EPS production was reduced to attempt to identify proteins associated with EPS1 biosynthesis. A putative bactoprenol glycosyltransferase, FI9785_242 (242), was less abundant in the Δ eps_cluster mutant strain than in the wild type. Nuclear magnetic resonance (NMR) analysis of isolated EPS showed that deletion of the FI9785_242 gene ( 242) prevented the accumulation of EPS1, without affecting EPS2 synthesis, while plasmid complementation restored EPS1 production. The deletion of 242 also produced a slow-growth phenotype, which could be rescued by complementation. 242 shows amino acid homology to bactoprenol glycosyltransferase GtrB, involved in O-antigen glycosylation, while in silico analysis of the neighboring gene 241 suggested that it encodes a putative flippase with homology to the GtrA superfamily. Deletion of 241 also prevented production of EPS1 and again caused a slow-growth phenotype, while plasmid complementation reinstated EPS1 synthesis. Both genes are highly conserved in L. johnsonii strains isolated from different environments. These results suggest that there may be a novel mechanism for homopolysaccharide synthesis in the Gram-positive L. johnsonii IMPORTANCE Exopolysaccharides are key components of the surfaces of their bacterial producers, contributing to protection, microbial and host interactions, and even virulence. They also have significant applications in industry, and understanding their biosynthetic mechanisms may allow improved production of novel and valuable polymers. Four categories of bacterial exopolysaccharide biosynthesis have been described in detail, but novel enzymes and glycosylation mechanisms are still being described. Our findings that a putative bactoprenol glycosyltransferase and flippase are essential to homopolysaccharide biosynthesis in Lactobacillus johnsonii FI9785 indicate that there may be an alternative mechanism of glucan biosynthesis to the glucansucrase pathway. Disturbance of this synthesis leads to a slow-growth phenotype. Further elucidation of this biosynthesis may give insight into exopolysaccharide production and its impact on the bacterial cell

An End, Once and for All: Mass Effect 3, Video Game Controversies, and the Fight for Player Agency

Since the success of the player-led Mass Effect 3 ending controversy, player-led video game controversies have become mainstream sites of industrial and ideological contention between developers, players, and the culture itself. This dissertation focuses on the history of the Mass Effect 3 ending controversy, the game’s specific textual qualities that encouraged player protest, and the negotiations between players and developers in online spaces that persuaded developers to alter the game’s ending based on player demands. Using the Mass Effect 3 as its primary object, this dissertation argues this controversy—as well as subsequent player-led video game controversies—was not simply the result of dissatisfaction with a single plot point or representation in the text or video game community, but the complex negotiation of creative differences between players and developers over the production and control of video game texts and culture. Video games and their controversies are rooted in the medium\u27s intrinsic qualities of interactivity, choice, labor and the need for shared production between developers and players to progress and produce a video game text, which encourages the development of a sense of agency and ownership over the text for both groups. This dissertation argues that video games are not just texts that developers create and that players play, but rather texts produced through the co-creative production practice that Axel Bruns has defined as “produsage”—texts where producers act in dual roles as users while users to also act as producers—that allow players a creative stake in the outcome of a video game text, encourages a sense of agency and ownership, and collapses traditional boundaries between developers and players. Video game controversies naturally arise when players perceive a loss of agency and control over the video game text and attempt to reclaim control over ownership of the text through controversy

Videopelit ja pukutaide - analogisten pukusuunnittelumetodien digitalisointi

This thesis explores ways of integrating a costume professional to the character art team in the game industry. The research suggests, that integrating costume knowledge into the character design pipeline increases the storytelling value of the characters and provides tools for the narrative. The exploration of integrating a costume professional into game character creation as a process is still rare and little information of costume in games and experiences in transferring an analogue character building skillset into a digital one can be found, therefore this research was generated to provide knowledge on the subject. The research's main emphasis is on immersion-driven AAA-games that employ 3D-graphics and human characters and are either photorealistic or represent stylized realism. Technology for depicting reality is advancing and digital industries have become aware of the extensive skills required to depict increasingly realistic worlds. Also, tools for character art are beginning to lean on actual costume construction: the pattern based cloth simulation software entitled Marvelous Designer has become the industry standard for character clothing. The material of this thesis is based on the author's experience as an intern and Costume Artist at the game company Remedy Entertainment and on data collection in the form of participant observation, conversational interviews, archival searches and assorted documents as an internal employee of the company. Therefore, an ethnographical research that applies to qualitative, descriptive, nonmathematical and naturalistic research methods is utilized in this thesis. The result of this research is a costume production pipeline for integrating a costume professional into the game character design process. It is formed by comparing costuming processes of game and film industries to explore the similarities and differences in methods to analyze the most effective combination of these two. The final pipeline introduces the costume professional’s position during the different stages of the character design process. Furthermore, the thesis categorizes aspects essential for a costume designer to internalize in order to become a functional part of the Character Art team and the skills and knowledge required to support the character design in a production. This research identifies the need for costume knowledge in realistic AAA-games. When employing a costume professional into a game production, this thesis offers tools and vocabulary for collaboration. Costume designers are Character Artists, but with different tools and skill set and costume design can be seen as a live form of character art.Tämä opinnäytetyö käsittelee pukusuunnittelua peliteollisuudessa ja pukusuunnittelijan tarvetta hahmosuunnitteluprosessissa. Tutkimuksen materiaali perustuu kirjoittajan omaan kokemukseen harjoittelijana ja pukusuunnittelijana (Costume Artist) Remedy Entertainment -peliyhtiön hahmosuunnittelutiimissä. Työ esittelee eri peliyhtiöiden hahmotiimien käyttämiä pukusuunnittelumetodeja ja arvioi, miten pukusuunnittelun tiedostaminen erillisenä osana hahmosuunnitteluprosessia ja puvun kerronnallisten elementtien tunnistaminen ja hyödyntäminen tukee uskottavan pelihahmon luomista realistisissa peleissä. Tutkimuksen lähtökohtana on ajatus, että pukusuunnittelun integroiminen hahmosuunnitteluprosessiin syventää hahmoa ja kuluttajan pelikokemusta ja näin ollen nostaa pelin arvoa tuotteena. Tutkimuksen tuloksena syntyi uusi pukusuunnittelun tuotantolinja (Costume production pipeline) peliteollisuuden käyttöön. Se esittelee pukusuunnittelijan asemoitumisen pelituotannon hahmosuunnitteluprosessiin. Teknologinen kehitys mahdollistaa yhä realistisempien digitaalisten todellisuuksien luomisen, jonka seurauksena peliteollisuus työllistää enenevässä määrin myös perinteisten alojen erityisosaajia, kuten arkkitehtejä sekä elokuva-alan valosuunnittelijoita. Myös digitaalisen hahmonluonnin työvälineet nojaavat jo tosielämän vaatetuotantoon: vaatesimulaatio-ohjelma Marvelous Designer perustuu vaatteiden kaavoihin ja on laajalti käytössä pelihahmojen suunnittelussa. Pelit, joita tutkimus tarkastelee, ovat AAA-pelejä, jotka hyödyntävät 3D-grafiikkaa ja ihmishahmoja ja jotka ovat joko photorealistisia tai edustavat tyyliteltyä realismia. Tutkimuksen materiaali on koostettu keskustelullisista, strukturoimattomista haastatteluista, kirjoittajan työpäiväkirjasta, yhtiön edellisten pelien arkistomateriaaleista, sekä yhtiön sisäisistä ohjeistuksista. Tutkimus esittelee keinoja, joilla fyysisen ihmisvartalon kanssa työskentelemään kouluttautunut pukusuunnittelija voi integroitua digitaaliseen hahmonluontiprosessiin ja osoittaa, että pukusuunnittelijat ovat analogisilla metodeilla työskenteleviä hahmosuunnittelijoita. Hahmosuunnittelun etu suhteessa esitystaiteen pukusuunnitteluun on vapaus näyttelijän fyysisen ruumiin sekä fysiikan lakien tuottamista rajoitteista. Vaatesuunnittelu keskittyy vaatteeseen ja pukusuunnittelu fyysisen ihmisruumiin ja vaatteen synnyttämään kombinaatioon ja interaktioon, mutta hahmosuunnittelu tarjoaa pukusuunnittelullisesti rajoittamattoman vapauden hahmotulkintaan

Recombinant Lloviu virus as a tool to study viral replication and host responses

Next generation sequencing has revealed the presence of numerous RNA viruses in animal reservoir hosts, including many closely related to known human pathogens. Despite their zoonotic potential, most of these viruses remain understudied due to not yet being cultured. While reverse genetic systems can facilitate virus rescue, this is often hindered by missing viral genome ends. A prime example is Lloviu virus (LLOV), an uncultured filovirus that is closely related to the highly pathogenic Ebola virus. Using minigenome systems, we complemented the missing LLOV genomic ends and identified cis-acting elements required for LLOV replication that were lacking in the published sequence. We leveraged these data to generate recombinant full-length LLOV clones and rescue infectious virus. Similar to other filoviruses, recombinant LLOV (rLLOV) forms filamentous virions and induces the formation of characteristic inclusions in the cytoplasm of the infected cells, as shown by electron microscopy. Known target cells of Ebola virus, including macrophages and hepatocytes, are permissive to rLLOV infection, suggesting that humans could be potential hosts. However, inflammatory responses in human macrophages, a hallmark of Ebola virus disease, are not induced by rLLOV. Additional tropism testing identified pneumocytes as capable of robust rLLOV and Ebola virus infection. We also used rLLOV to test antivirals targeting multiple facets of the replication cycle. Rescue of uncultured viruses of pathogenic concern represents a valuable tool in our arsenal for pandemic preparedness