Time and Space in Digital Game Storytelling

The design and representation of time and space are important in any narrative form. Not surprisingly there is an extensive literature on specific considerations of space or time in game design. However, there is less attention to more systematic analyses that examine both of these key factors—including their dynamic interrelationship within game storytelling. This paper adapts critical frameworks of narrative space and narrative time drawn from other media and demonstrates their application in the understanding of game narratives. In order to do this we incorporate fundamental concepts from the field of game studies to build a game-specific framework for analyzing the design of narrative time and narrative space. The paper applies this framework against a case analysis in order to demonstrate its operation and utility. This process grounds the understanding of game narrative space and narrative time in broader traditions of narrative discourse and analysis

The quest for ludonarrative : designing a ludonarrative analytical framework for analysis and design of ludonarrative in games through analysed case studies : Hollow Knight, Celeste, and Brothers: A Tale of Two Sons

games have grown into the largest entertainment media in the world, significant research into the social, economic, and cultural impact of games has been conducted. However, investigation into the aesthetic and sense-making capacity of games is less well represented. Specifically, the intersection and synthesis of game narrative and gameplay, known as ludonarrative, is under theorised. This thesis addresses this gap by developing a framework for analysing and designing ludonarrative in games and testing it against three case studies; Hollow Knight, Celeste, and Brothers: A Tale of Two Sons. The thesis includes an extensive literature review which identifies theories and frameworks to construct the Ludonarrative Analytic Framework (LAF), with close playing providing the data for case study analysis. In addition to the LAF, this thesis contributes analysis of the artistic value of the three case studies and furthers the conversation about games’ capacity and methods for storytelling

Temporal aspects of digital games

Temporal issues related to digital games go beyond the strictly literary or film studies character of the description and implies technological and marketing issues. It can be outlined by referring to the concept of Andrzej Stoff, who analyzed the spatial dimension of the world of the novel (“delineating space”, “creating”, “functionalizing”, “valorising”). Relating these four detailed issues – constituting the basic subject of description, analysis and interpretation – to temporal aspects, it is appropriate to talk about measuring (conventionalizing, relativizing) time, thematizing, functionalizing and valorizing it. Taking into account the above categories, the most typical concretizations of temporal phenomena can be further defined: functional (classic chronometry, clock, server time, time of a running process), gameplay (real time, relativization, quest time, respawn time), thematic concretizations (e.g. retrospection as a compositional dominant of multimodal narratives) and marketing concretizations (commercialization of time).Temporal issues related to digital games go beyond the strictly literary or film studies character of the description and implies technological and marketing issues. It can be outlined by referring to the concept of Andrzej Stoff, who analyzed the spatial dimension of the world of the novel (“delineating space”, “creating”, “functionalizing”, “valorising”). Relating these four detailed issues – constituting the basic subject of description, analysis and interpretation – to temporal aspects, it is appropriate to talk about measuring (conventionalizing, relativizing) time, thematizing, functionalizing and valorizing it. Taking into account the above categories, the most typical concretizations of temporal phenomena can be further defined: functional (classic chronometry, clock, server time, time of a running process), gameplay (real time, relativization, quest time, respawn time), thematic concretizations (e.g. retrospection as a compositional dominant of multimodal narratives) and marketing concretizations (commercialization of time)

[pain]Byte VR Storytelling & Classical Ballet

This initial stage paper focuses on the Virtual Reality (VR) experience of the [pain]Byte ballet. The live and VR experience debut October 1st 2017, as part of the Brighton digital festival. Specifically, the development of the VR environment to compliment live performance by using the same choreography to create an option capture element of the VR story telling experience. Reviewing Virtual & Alternative reality gaming & storytelling works and the use of VR for chronic pain management (Chen, Win). Does the VR experience compare to that of the live theatre for the audience? The data visualisations and VR environment will be continuations of the Network Simulator, [data]Storm 2015. We are visualising and comparing the pain pathway system to that of a social network. Linking pain signals to viral/negative messaging for some of the visuals. The main purpose of the pieces links to how “we" present ourselves online, these better or veiled versions of ourselves. For chronic pain sufferers, this can be daily activity in the real world. The paper concludes by identifying some future directions for the research project. The Ballet: [pain]Byte is a data driven dance classical ballet performance and VR (virtual reality) experience. [pain]Byte, is about chronic pain and biomedical engineering, in particular the use of implanted technology - neuromodulation (Al-Kaisey et al). Using data as a medium for storytelling, what it means to be in chronic pain. The live augmented theatre and VR experience research focuses on how an audience’s exposure and understanding are impacted by the difference mediums used for [pain]byte

Conceptual Model of Game Aesthetics for Perceived Learning in Narrative Games

Narrative games may offer reasoning on players’ behaviour or make-believe on players’ personation as a pursuit to achieve specific goals. One of the goals is probably the intention to instil learning, which subconsciously provide information on the content of the game. However, there is lack of studies on the contribution of game aesthetics towards player’s perceived learning. By means of expert review, this article reports on conceptual model of game aesthetics towards perceived learning and the degree of importance of each attributes in perceived learning.  Findings reveal that all experts agreed on the contribution of game aesthetics towards perceived learning. In additon, expert recommends three other factors that may contribute to learning: player’s motivation, learning content, and gameplay. Future work will continue to design and develop the game prototype and to investigate the relationship between game aesthetics and perceived learning

A descriptive-analytical study of the Open-World Game Design "Grand Theft Auto V and online version" with an emphasis on Role-Playing Capabilities

One of the main features of open-world games is the non-linear process, the existence of multiple ways to achieve goals, the noticeable presence of cultural elements, the impact of the game space on world-famous cities, and the significant use of artificial intelligence. This research after examining the concept of "open world" in digital games and the development of this design model by using of case study and participant observation, with a critical and skeptical look at the realization of the game world of "Grand Theft Auto V and online version", especially in the context of the existence of multiple paths, seeks to achieve the main goals. The results of this study indicate that the open world of the game "Grand Theft Auto" is limited and enclosed by the design of the structure, storylines, characters, scenarios, rewards, punishments, racial discrimination, and sexual preferences. Despite the definition of normal and common professions and jobs in the game environment, such as buying and selling automobiles, investing in the stock market, medicine, working in the transportation system, and store management, the main goals are only through the income from membership in mafia groups, extensive trade in materials. Drugs and organized robberies are attainable, and role-playing in the position of the police is also associated with many obstacles and challenges, limited powers, few initiatives, a high degree of difficulty, and little attraction

Attributes of narrative game aesthetics for perceived cultural learning

Previous researches are mostly concerned on non-holistic game aesthetics for learning in various interactive media platforms. There is lack of studies on attributes of narrative games aesthetics which may contribute to perceived cultural learning. Therefore, this study aims to propose a conceptual model of narrative game aesthetics for perceived cultural learning. Three specific objectives were formulated: (i) to determine game aesthetics that contribute to perceived cultural learning in narrative games, (ii) to develop a narrative game based on the determined game aesthetics, and (iii) to produce empirical evidence on the contribution of game aesthetics towards perceived cultural learning. The research methodology comprises of three main phases: conceptual model development, prototype development, and user evaluation. For the first phase, the conceptual model was developed based on previous literature and reviewed by six experts. In the second phase, prototype development was then developed according to the conceptual model. Finally, user evaluation was employed using quasi experiment which involved 43 participants. Data analysis is conducted using descriptive analysis, correlation analysis, and observation. Findings indicate that six out of 10 attributes namely image and graphic; layout; shape and form; texture; voice; and music, are significantly correlated to perceived cultural learning. The observation results also indicate that these attributes can amplify game experience for perceived cultural learning. In a nutshell, this study has identified attributes of narrative game aesthetics for perceived cultural learning. It further provides empirical evidence on contributions of these attributes of narrative game aesthetics to perceived cultural learning. The outcome of this study will provide guidelines for narrative game designers and developers whom interested to inculcate cultural learning in their game

A.T.L.A.S.: Automatic Terrain and Labels Assembling Software

The interactivity and the decision making processes typica lof a video game have a strong influence on how the story of the game should be told, but also on how the imaginary world of the game, where the story takes place, should be structured. As a consequence, there is a growing interest in the development of tools able to couple well with the increasing demanding peculiarities of \u201cgame writing\u201d and\u201cworld building\u201d activities, especially when game or level designers are called to do also the work of a writer. In this paper, we present A.T.L.A.S.(Automatic Terrain and Labels Assembling Software), a tool aimed at the automatic creation of complex imaginary worlds for video games, based on Procedural Content Generation techniques, but characterized also by a story-driven approach