Avatars Going Mainstream: Typology of Tropes in Avatar-Based Storytelling Practices

Due to the growing popularity of video games, gaming itself has become a shared experience among media audiences worldwide. The phenomenon of avatar-based games has led to the emergence of new storytelling practices. The paper proposes a typology of tropes in these avatar-based narratives focusing on non-game case studies. Suggested tropes are also confronted with the latest research on avatars in the area of game studies and current knowledge of the issues concerning the player-avatar relationship. Some of the most popular misconceptions regarding the gameplay experience and its representation in non-game media are exposed as a result of this analysis. The research confirms that popular culture perceives gaming experience as closely related to the player identity, as the latter inspires new genres of non-game narratives

Immersive Composition for Sensory Rehabilitation: 3D Visualisation, Surround Sound, and Synthesised Music to Provoke Catharsis and Healing

There is a wide range of sensory therapies using sound, music and visual stimuli. Some focus on soothing or distracting stimuli such as natural sounds or classical music as analgesic, while other approaches emphasize the active performance of producing music as therapy. This paper proposes an immersive multi-sensory Exposure Therapy for people suffering from anxiety disorders, based on a rich, detailed surround-soundscape. This soundscape is composed to include the users’ own idiosyncratic anxiety triggers as a form of habituation, and to provoke psychological catharsis, as a non-verbal, visceral and enveloping exposure. To accurately pinpoint the most effective sounds and to optimally compose the soundscape we will monitor the participants’ physiological responses such as electroencephalography, respiration, electromyography, and heart rate during exposure. We hypothesize that such physiologically optimized sensory landscapes will aid the development of future immersive therapies for various psychological conditions, Sound is a major trigger of anxiety, and auditory hypersensitivity is an extremely problematic symptom. Exposure to stress-inducing sounds can free anxiety sufferers from entrenched avoidance behaviors, teaching physiological coping strategies and encouraging resolution of the psychological issues agitated by the sound

Game on! a report on the interactive leisure software subsector in London

There is a paucity of good quality data on the UK video games industry. Information such as value-added, investment on R&D, average annual expenditure on training and the value of video games in terms of exports, for example, is thin or incomplete. This is a serious problem. If we are to improve the competitiveness of the UK games development sector then we must have better quality information. Games developers will then be able to benchmark their business activities against industry averages. Overseas investors will also then be better informed about the benefits of investing in the UK leisure software sector. This Report confirms the lacunae in our knowledge that exists about the video games industry. For example, the Office of National Statistics still does not have a specific code to identify interactive leisure software businesses. Yet the Report also shines a light on the video games industry in the UK in general and in London in particular

Technological prerequisites for indistinguishability of a person and his/her computer replica

Some people wrongly believe that A. Turing’s works that underlie all modern computer science never discussed “physical” robots. This is not so, since Turing did speak about such machines, though making a reservation that this discussion was still premature. In particular, in his 1948 report [8], he suggested that a physical intelligent machine equipped with motors, cameras and loudspeakers, when wandering through the fields of England, would present “the danger to the ordinary citizen would be serious.” [8, ]. Due to this imperfection of technology in the field of knowledge that we now call robotics, the methodology that he proposed was based on human speech, or rather on text. Other natural human skills were too difficult to implement, while the exchange of cues via written messages was much more accessible for engineering implementation in Turing’s time. Nevertheless, since then, the progress of computer technology has taken forms that the founder of artificial intelligence could not have foreseen

Transatlantic spaces: production, location and style in 1960s-1970s action-adventure TV series

This paper argues that transatlantic hybridity connects space, visual style and ideological point of view in British television action-adventure fiction of the 1960s–1970s. It analyses the relationship between the physical location of TV series production at Elstree Studios, UK, the representation of place in programmes, and the international trade in television fiction between the UK and USA. The TV series made at Elstree by the ITC and ABC companies and their affiliates linked Britishness with an international modernity associated with the USA, while also promoting national specificity. To do this, they drew on film production techniques that were already common for TV series production in Hollywood. The British series made at Elstree adapted versions of US industrial organization and television formats, and made programmes expected to be saleable to US networks, on the basis of British experiences in TV co-production with US companies and of the international cinema and TV market

Learning from the Professionals: Film Tourists' "Authentic" Experiences on a Film Studio Tour

The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link.The purpose of this paper is to explore how consumers perceive, experience and engage with the art of filmmaking and the industrial film production process that the film studios present to them during their guided film studio tours. Drawing on the author’s own film tourist experiences, observations and participatory interactions with fellow visitors at a major Hollywood film studio, this paper takes an autoethnographic “I’m-the-camera”-perspective and a hermeneutic data analysis approach. The findings reveal that visitors experience the ‘authentic’ representation of the working studio’s industrial film production process as an opportunity and ‘invitation to join’ a broader filmmaker community and to share their own amateur filmmaking experiences with fellow visitors and professionals – just to discover eventually that the perceived community is actually the real ‘simulacrum’. Although using an autoethnographic approach means that the breadth of collected data is limited, the gain in depth of insights allows for a deeper understanding of the actual visitor experience. The findings encourage film studio executives, managers and talent agents to reconsider current practices and motivations in delivering film studio tours and to explore avenues for harnessing their strategic potential. Contrary to previous studies that have conceptualised film studio tours as simulacra that deny consumers a genuine access to the backstage, the findings of this study suggest that the real simulacrum is actually the film tourists’ ‘experienced feeling’ of having joined and being part of a filmmaker community, which raises questions regarding the study of virtual communities