Natural language and programming: designing effective environments for novices

Given the current drive to teach computational concepts to all from an early age, we consider whether traditional programming languages are truly necessary, or whether natural language might be a suitable medium for program generation and comprehension, given its familiarity and ubiquity. We conducted an empirical study on the use of natural language for computation, and found that, although it provides support for understanding computational concepts, it introduces additional difficulties when used for coding. Following a design study with target users, we distilled our findings into a series of design guidelines for novice programming environments that incorporate natural language. These guidelines drove the design of Flip, a bimodal programming language for young people's game creation activities. Two empirical studies examined the extent to which these embodied design guidelines support ease of use and an understanding of computation. The guidelines have potential both for analysing the usability of existing novice programming environments, and for designing new ones

Pivoting the player:a methodological toolkit for player character research in offline role-playing games

This thesis introduces an innovative method for the analysis of the player character (PC) in offline computer role-playing games (cRPGs). It derives from the assumption that the character constitutes the focal point of the game, around which all the other elements revolve. This underlying observation became the foundation of the Pivot Player Character Model, the framework illustrating the experience of gameplay as perceived through the PC’s eyes. Although VG characters have been scrutinised from many different perspectives, a uniform methodology has not been formed yet. This study aims to fill that methodological void by systematising the hitherto research and providing a method replicable across the cRPG genre. The proposed methodology builds upon the research of characters performed in video games, fiction, film, and drama. It has been largely inspired by Anne Ubersfeld’s semiological dramatic character research implemented in Reading Theatre I (1999). The developed theoretical model is applied to three selected cRPGs, which form an accurate methodological sample: The Witcher (CD Projekt RED 2007), Fallout 3 (Bethesda Game Studios 2008), and Vampire: The Masquerade – Bloodlines (Troika Games 2004). The choice of the game genre has been incited by the degree of attention it draws to the player character’s persona. No other genre features such a complex character development system as a computer role-playing game. <br/

Novice programming environments: lowering the barriers, supporting the progression

In 2011, the author published an article that looked at the state of the art in novice programming environments. At the time, there had been an increase in the number of programming environments that were freely available for use by novice programmers, particularly children and young people. What was interesting was that they offered a relatively sophisticated set of development and support features within motivating and engaging environments, where programming could be seen as a means to a creative end, rather than an end in itself. Furthermore, these environments incorporated support for the social and collaborative aspects of learning. The article considered five environments—Scratch, Alice, Looking Glass, Greenfoot, and Flip— examining their characteristics and investigating the opportunities they might offer to educators and learners alike. It also considered the broader implications of such environments for both teaching and research. In this chapter, the author revisits the same five environments, looking at how they have changed in the intervening years. She considers their evolution in relation to changes in the field more broadly (e.g., an increased focus on “programming for all”) and reflects on the implications for teaching, as well as research and further development

The Game FAVR: A Framework for the Analysis of Visual Representation in Video Games

This paper lays out a unified framework of the ergodic animage, the rule-based and interactiondriven part of visual representation in video games. It is the end product of a three-year research project conducted by the INTEGRAE team, and is divided into three parts. Part 1 contextualizes the research on graphics and visuality within game studies, notably through the opposition between fiction and rules and the difficulties in finding common vocabulary to discuss key visual concepts such as perspective and point of view. Part 2 discusses a number of visual traditions through which we frame video game graphics (film, animation, art history, graphical projection and technical drawing), highlighting their relevance and shortcomings in addressing the long history of video games and the very different paradigms of 2D and 3D graphics. Part 3 presents the Game FAVR, a model that allows any game’s visual representation to be described and discussed through a common frame and vocabulary. The framework is presented in an accessible manner and is organized as a toolkit, with sample case studies, templates, and a flowchart for using the FAVR provided as an annex, so that researchers and students can immediately start using it

Chatbot-Based Natural Language Interfaces for Data Visualisation: A Scoping Review

Rapid growth in the generation of data from various sources has made data visualisation a valuable tool for analysing data. However, visual analysis can be a challenging task, not only due to intricate dashboards but also when dealing with complex and multidimensional data. In this context, advances in Natural Language Processing technologies have led to the development of Visualisation-oriented Natural Language Interfaces (V-NLIs). In this paper, we carry out a scoping review that analyses synergies between the fields of Data Visualisation and Natural Language Interaction. Specifically, we focus on chatbot-based V-NLI approaches and explore and discuss three research questions. The first two research questions focus on studying how chatbot-based V-NLIs contribute to interactions with the Data and Visual Spaces of the visualisation pipeline, while the third seeks to know how chatbot-based V-NLIs enhance users' interaction with visualisations. Our findings show that the works in the literature put a strong focus on exploring tabular data with basic visualisations, with visual mapping primarily reliant on fixed layouts. Moreover, V-NLIs provide users with restricted guidance strategies, and few of them support high-level and follow-up queries. We identify challenges and possible research opportunities for the V-NLI community such as supporting high-level queries with complex data, integrating V-NLIs with more advanced systems such as Augmented Reality (AR) or Virtual Reality (VR), particularly for advanced visualisations, expanding guidance strategies beyond current limitations, adopting intelligent visual mapping techniques, and incorporating more sophisticated interaction methods

Texts and reading in virtual environments : history and prospects

textThis thesis examines the activity of pleasure reading as conducted within three kinds of virtual environments: role-playing and adventure video games, Massively Multiplayer Online Games (MMOGs) such as World of Warcraft, and graphical online social worlds such as Second Life. I ask how and to what extent different types of virtual environments are able to provide immersive reading experiences. This analysis relies upon the concepts of telic (purpose-driven) and paratelic (pleasure-driven) modes of reading, and I examine how virtual environments provide affordances for one or the other mode. How they do so usually has to do with how their situate reading materials in relation to the environment’s diegetic world, as well as whether the diegetic world is coherent and bounded. I conclude that while paratelic reading is encouraged in all virtual environments, role-playing and adventure video games are conducive to partially telic reading experiences, with players reading in order to better understand the diegetic world in which they act. MMOGs feature largely immutable diegetic worlds lacking normal relations of causality, but they still manage to some degree to encourage telic reading by circumscribing and enriching the world with lore. Virtual social worlds are generally unable to provide this sort of telic reading experience due to their lack of coherent diegetic worlds, and their effectiveness for paratelic reading is currently hampered by unwieldy interfaces and lack of innovation in the format of virtual books. Although MMOGs and social virtual worlds both feature synchronous collaboration between players with the potential for emergent narratives, neither has been able to leverage this advantage for the creation of immersive reading experiences. Finally, all three forms of virtual environment have inspired innovative user-created narratives and interfaces, but they have done so outside the contexts of their diegetic game worlds, in the sphere of participant culture.Informatio

Techno-historical limits of the interface: the performance of interactive narrative experiences

This thesis takes the position that current analyses of digitally mediated interactive experiences that include narrative elements often lack adequate consideration of the technical and historical contexts of their production.From this position, this thesis asks the question: how is the reader/player/user's participation in interactive narrative experiences (such as hypertext fiction, interactive fiction, computer games, and electronic art) influenced by the technical and historical limitations of the interface?In order to investigate this question, this thesis develops a single methodology from relevant media and narrative theory, in order to facilitate a comparative analysis of well known exemplars from distinct categories of digitally mediated experiences. These exemplars are the interactive fiction Adventure, the interactive art work Osmose, the hypertext fiction Afternoon, a story, and the computer/video games Myst, Doom, Half Life and Everquest.The main argument of this thesis is that the technical limits of new media experiences cause significant ‘gaps’ in the reader’s experience of them, and that the cause of these gaps is the lack of a dedicated technology for new media, which instead ‘borrows’ technology from other fields. These gaps are overcome by a greater dependence upon the reader’s cognitive abilities than other media forms. This greater dependence can be described as a ‘performance’ by the reader/player/user, utilising Eco’s definition of an ‘open’ work (Eco 21).This thesis further argues that the ‘mimetic’ and ‘immersive’ ambitions of current new media practice can increases these gaps, rather than overcoming them. The thesis also presents the case that these ‘gaps’ are often not caused by technical limits in the present, but are oversights by the author/designers that have arisen as the product of a craft culture that has been subject to significant technical limitations in the past. Compromises that originally existed to overcome technical limits have become conventions of the reader/player/user’s interactive literacy, even though these conventions impinge on the experience, and are no longer necessary because of subsequent technical advances. As a result, current new media users and designers now think of these limitations as natural.This thesis concludes the argument by redefining ‘immersion’ as the investment the reader makes to overcome the gaps in an experience, and suggests that this investment is an important aspect of their performance of the work