30,785 research outputs found
Heavy Hero or Digital Dummy? Multimodal PlayerâAvatar Relations in Final Fantasy 7
This article analyses the player-avatar relation in Final Fantasy 7, drawing on multimodality theory to analyse textual structures both in the game and in the discourse of player-interviews and fan writing. It argues that the avatar is a two-part structure, partly designed in conventional narrative terms as a protagonist of popular narrative, and partly as a vehicle for interactive game-play. The former structure is replete with the traditions and designs of Japanese popular narrative, oral formulaic narrative and contemporary superhero narratives; and is presented to the player as an offer act â a declarative narrative statement. The latter is a construct of evolving attributes and economies characteristic of roleplaying games; and is presented to the player as a demand act â a rule-based command. Though these two functions separate out in the grammar of player and fan discourse, it is their integration which provides the pleasure of gameplay and narrative engagement
Player agency in interactive narrative: audience, actor & author
The question motivating this review paper is, how can
computer-based interactive narrative be used as a constructivist learn-
ing activity? The paper proposes that player agency can be used to
link interactive narrative to learner agency in constructivist theory,
and to classify approaches to interactive narrative. The traditional
question driving research in interactive narrative is, âhow can an in-
teractive narrative deal with a high degree of player agency, while
maintaining a coherent and well-formed narrative?â This question
derives from an Aristotelian approach to interactive narrative that,
as the question shows, is inherently antagonistic to player agency.
Within this approach, player agency must be restricted and manip-
ulated to maintain the narrative. Two alternative approaches based
on Brechtâs Epic Theatre and Boalâs Theatre of the Oppressed are
reviewed. If a Boalian approach to interactive narrative is taken the
conflict between narrative and player agency dissolves. The question
that emerges from this approach is quite different from the traditional
question above, and presents a more useful approach to applying in-
teractive narrative as a constructivist learning activity
Storia: Summarizing Social Media Content based on Narrative Theory using Crowdsourcing
People from all over the world use social media to share thoughts and
opinions about events, and understanding what people say through these channels
has been of increasing interest to researchers, journalists, and marketers
alike. However, while automatically generated summaries enable people to
consume large amounts of data efficiently, they do not provide the context
needed for a viewer to fully understand an event. Narrative structure can
provide templates for the order and manner in which this data is presented to
create stories that are oriented around narrative elements rather than
summaries made up of facts. In this paper, we use narrative theory as a
framework for identifying the links between social media content. To do this,
we designed crowdsourcing tasks to generate summaries of events based on
commonly used narrative templates. In a controlled study, for certain types of
events, people were more emotionally engaged with stories created with
narrative structure and were also more likely to recommend them to others
compared to summaries created without narrative structure
Learning to communicate computationally with Flip: a bi-modal programming language for game creation
Teaching basic computational concepts and skills to school children is currently a curricular focus in many countries. Running parallel to this trend are advances in programming environments and teaching methods which aim to make computer science more accessible, and more motivating. In this paper, we describe the design and evaluation of Flip, a programming language that aims to help 11â15 year olds develop computational skills through creating their own 3D role-playing games. Flip has two main components: 1) a visual language (based on an interlocking blocks design common to many current visual languages), and 2) a dynamically updating natural language version of the script under creation. This programming-language/natural-language pairing is a unique feature of Flip, designed to allow learners to draw upon their familiarity with natural language to âdecode the codeâ. Flip aims to support young people in developing an understanding of computational concepts as well as the skills to use and communicate these concepts effectively. This paper investigates the extent to which Flip can be used by young people to create working scripts, and examines improvements in their expression of computational rules and concepts after using the tool. We provide an overview of the design and implementation of Flip before describing an evaluation study carried out with 12â13 year olds in a naturalistic setting. Over the course of 8 weeks, the majority of students were able to use Flip to write small programs to bring about interactive behaviours in the games they created. Furthermore, there was a significant improvement in their computational communication after using Flip (as measured by a pre/post-test). An additional finding was that girls wrote more, and more complex, scripts than did boys, and there was a trend for girls to show greater learning gains relative to the boys
Optimizing Player and Viewer Amusement in Suspense Video Games
Broadcast video games need to provide amusement to both players and audience. To achieve
this, one of the most consumed genres is suspense, due to the psychological effects it has on both roles.
Suspense is typically achieved in video games by controlling the amount of delivered information about
the location of the threat. However, previous research suggests that players need more frequent information
to reach similar amusement than viewers, even at the cost of jeopardizing viewers' engagement. In order
to obtain models that maximize amusement for both interactive and passive audiences, we conducted an
experiment in which a group of subjects played a suspenseful video game while another group watched it
remotely. The subjects were asked to report their perceived suspense and amusement, and the data were
used to obtain regression models for two common strategies to evoke suspense in video games: by alerting
when the threat is approaching and by random circumstantial indications about the location of the threat.
The results suggest that the optimal level is reached through randomly providing the minimal amount of
information that still allows players to counteract the threat.We reckon that these results can be applied to a
broad narrative media, beyond interactive games
Playing with Identity. Authors, Narrators, Avatars, and Players in The Stanley Parable and The Beginnerâs Guide
This article offers a comparative analysis of Davey Wredenâs The Stanley Parable (Wreden 2011 / Galactic Cafe 2013) and The Beginnerâs Guide (Everything Unlimited Ltd. 2015) in order to explore the interrelation of authors, narrators, avatars, and players as four salient functions in the play with identity that videogames afford. Building on theories of collective and collaborative authorship, of narratives and narrators across media, and of the avatar-player relationship, the article reconstructs the similarities and differences between the way in which The Stanley Parable and The Beginnerâs Guide position their players in relation to the two gamesâ avatars, narrators, and (main) author, while also underscoring how both The Stanley Parable and The Beginnerâs Guide use metareferential strategies to undermine any overly rigid conceptualization of these functions and their interrelation
An analysis of persistent non-player characters in the first-person gaming genre 1998-2007: a case for the fusion of mechanics and diegetics
This paper describes the results of an analysis of persistent non-player characters (PNPCs) in the first-person gaming genre 1998-2007. Assessing the role, function, gameplay significance and representational characteristics of these critical important gameplay objects from over 34 major releases provides an important set of baseline data within which to situate further research. This kind of extensive, genre-wide analysis is under-represented in game studies, yet it represents a hugely important process in forming clear and robust illustrations of the medium to support understanding. Thus, I offer a fragment of this illustration, demonstrating that many of the cultural and diegetic qualities of PNPCs are a product of a self-assembling set of archetypes formed from gameplay requirements
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