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Dissertations / Theses on the topic 'Game-narrative'
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Martineau, Félix. "PNFG : a framework for computer game narrative analysis." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99353.
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Narratives play a significant role in many computer games, and this is especially true in genres such as role-playing and adventure games. Even so, many games have narratives which possess a certain number of flaws that can deteriorate the playing experience. This less than satisfying gameplay experience can obviously affect the commercial success of a given game. Our research originates from the need to identify these narrative flaws. In response to this need, we present a, framework for computer game narratives analysis. Our work focuses on Interactive Fiction games, which are textual, command-line and turn-based games. We first describe a, high level computer narrative language, the Programmable Narrative Flow Graph (PNFG), that provides a high level, user-friendly interface to a low level formalism, the Narrative Flow Graph, (NFG) [38]. The PNFG language is delivered with a set of enhancements and low level optimizations that reduce the size of the generated NFG output. As part of our work on the analysis of narrative structures, we developed a proof of concept heuristic solver that attempts to automatically find solutions to games from a lightweight, high level representation. We also define narrative game metrics and present a, metrics framework that simplifies the measurement and development of such metrics. These metrics contribute to broadening our general knowledge about game narratives.
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Nordqvist, Filip, and Erik Sahlbom. "Visual Narrative Game Design : Ett narrativ utan konversation." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16516.
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Vi undersöker den narrativa stilen som Flower och Journey använder sig av. I denna narrativastil finns det varken dialog och text. Utifrån Flower och Journey skapade vi en designmetodsom ska finnas till som inspiration för utvecklare som vill testa denna stilen. Resultatet avundersökningen ger upphov till en designmetod som vi applicerar på vår gestaltning för atttesta den i en annan spel genre. Mycket av metoden är fokuserad på hur Flower och Journeygör då vi bara undersöker de två spelen. Vi skulle vilja göra en mer generell undersökning dåvi undersöker mer spel som också har ett narrativ utan dialog och text.We study the narrative style that Flower and Journey uses. In this narrative style, there is nodialogue and text. Based on Flower and Journey, we created a design method that will be aninspiration for developers who want to test this style. The result of this bachelor thesis givesrise to a design method that we apply to our game idea this applies the method to anothergame genre. Much of the method is very focused on what Flower and Journey do when weonly examine these two games. We would like to do a more general study when we examinemore games that also have a narrative without dialogue and text.
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Howland, Katherine. "Narrative threads : supporting young people in developing writing skills through narrative-based game creation." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/42603/.
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This thesis examines how narrative-based game creation can be used as an activity to improve writing skills for young people aged 11-15, and how additional representational support in a game creation tool can increase the benefits of the activity. Creating narrative-based games can involve traditional writing skills as well as requiring the 21st century skills of multimodal and interactive writing. Toolsets make it possible for young people to create 3D role-playing games with a commercial look and feel, but they do not provide support for the complex task of interactive and multimodal narrative creation. To investigate the desirable features of a tool that would support this task and the associated learning, an extensive learner-centred design process was conducted. This involved teachers and young people, and also incorporated relevant theory synthesised into a design model. A suite of tools, Narrative Threads, was designed and developed through an iterative process to provide the support highlighted as important. Two evaluative studies were conducted in different learning contexts; a secondary school and a vacation workshop. A mixed-methods approach was used to examine the overall potential for the activity to support writing skills development and the impact made by additional representational support. Comparative studies between groups showed some evidence that writing skills were improved for those taking part in game creation, and there were further benefits for groups using Narrative Threads in the workshop setting, but not in the school setting. Additionally, a multimodal analysis of the games created showed that many participants demonstrated a developing proficiency in using 3D graphical elements, text and sound to convey an interactive narrative. The findings indicate promise for the approach, although additional curricular and pedagogical support would be crucial if the potential is to be actualised in a classroom context.
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Mallon, B. "Evaluating narrative models of engagement in multimedia game design." Thesis, Queen's University Belfast, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411362.
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Jin, Chengyue. "Game narrative conveyed through visual elements in digital games." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20104.
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This thesis compares the different concepts of game narrative and traditional narrative, and aims to explore and analyze the relationship between visual elements and game narrative in video games. Game narrative is an emerging narrative based on digital media. It can not only include stories from traditional narratives, but also convey narratives through the virtual environment and mechanisms of games. This thesis discusses the concepts of traditional narrative and game narrative from the basic concepts of narrative, and lists different visual narrative elements and video games of different narrative types on this basis. In addition, this thesis designs a study that includes different dimensions of immersion to investigate the impact of narratives conveyed through visual elements on player immersion.
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Hall, Brayton Bruno. "A Language-Game Justification for Narrative in Historical Explanation." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/78239.
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The problem of historical explanation consists in how historical facts are put together. No mere collection of facts constitutes an explanation: there must be some underlying explanation for why those facts occurred in the way they did. Many competing theories of historical explanation have thus been offered, from the highly technical D-N or covering law model, to narrative-based explanations. This paper exposes the flaws in the covering law model proposed by Carl Hempel, and offers a justification for narrative-based explanations by appealing to the notion of language games as used by Ludwig Wittgenstein, as well as the narrative and paradigm models of Arthur Danto and Thomas Kuhn for explaining historical events.Master of Arts
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Ahn, Changhyun. "Interacting With Story: Examining Transportation into Video Game Narrative." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1431608782.
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Ngai, Anita Ching Yi. "Cultural Influences On Video Games: players' preferences in narrative and game-play." Thesis, University of Waterloo, 2005. http://hdl.handle.net/10012/770.
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As an entertainment media, video games provide pleasure and enjoyment through interactions with various game elements. Some games are more successful in one part of the world than others, which sales data have clearly shown over the years. Games designed in various parts of the world often have distinct differences, as developers implicitly or subconsciously convey their values and culture in their creations. Thus, in examining ?what is fun,? one must move beyond technical aspects of game design and look into immersion and emotional experiences. In this paper, sales data for 2004 were first examined, followed by a case study to investigate any differences between Japan and the US, where major game console manufacturers and game developers reside. Although they indicated differences in popularity of genres and design approaches, results from the survey were not able to verify conclusively major statistical difference between the two groups of respondents.
The survey was constructed with a focus on narrative and game-play elements, in hopes to get a better understanding of players? preferences through the concept of immersion, which were anticipated to be influenced by cultural differences. Although no major differences were found, given the small sample population, it could be seen that there was a greater sense of character attachment from Japanese respondents, while American respondents did not like to be forced away from their actions by ?long? narrative elements.
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Madej, Krystina. "Characteristics of Early Narrative Experience : Connecting print and digital game /." Burnaby B.C. : Simon Fraser University, 2007. http://ir.lib.sfu.ca/handle/1892/9751.
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Thesis (Ph.D.) - Simon Fraser University, 2007.Theses (School of Interactive Arts & Technology) / Simon Fraser University. Senior supervisor: Dr. John Bowes -- School of Interactive Arts & Technology. Also issued in digital format and available on the World Wide Web.
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Shook, Steffi A. "Personal Narrative Video Games: Failure, Empathy, and Marginalized Game Developers." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1556017903138173.
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Öhman, Sebastian. "Game mechanics, Role play, and Narrative - Critically learning values through games." Thesis, Malmö universitet, Fakulteten för teknik och samhälle (TS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20585.
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In 2018, the Swedish Parliament decided to make the UN Convention on the Rights of the Child acivil law, which will be implemented in the year 2020. The consequences of the decision are notunproblematic. The public debate, as well as research, shows that parents have a problem seeing howtheir style of parenting could correlate with the Convention’s legal text. The parents expresshopelessness towards the notion of child upbringing.This thesis is an exploratory pilot study aiming to prepare and generate new knowledge for a projectcommissioned by Save the Children with the goal to develop a game to decrease the knowledge gapbetween parents and children regarding what the Convention means for their relationship. The thesisalso asks the question: how can a game, played by parents and children meant to teach them about softvalues in accordance with the Convention look like.Beyond traditional qualitative research methods, this thesis used Research through Design anddeveloped a presumptive prototype for the project in order to explore the research subject. Findingsshowed that the games narrative and the power to change the narrative through player choices play anessential part in the participant’s ability to immerse in the game, and that this interactive narrative isclosely connected with the ability to learn. The thesis also shows designer directions to consider whendeveloping a game meant to teach the players about soft values.
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BRANDÃO, Luis Rodrigo Gomes. "Análise da emergência narrativa em Metal Gear Solid V: The Phantom Pain." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/17724.
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Devido ao diferencial da interatividade, os jogos digitais possuem um singular potencial narrativo que permitem os jogadores construírem suas próprias narrativas mesmo em gêneros lúdicos com pouca ou nenhuma história explícita. Consolidada como uma linguagem própria dos jogos digitais, a narrativa emergente usufrui princípios multidisciplinares do game design para prover a multiformidade nos games, principalmente nos gêneros sandbox e mundo aberto. Apesar do frequente questionamento da validade da experiência do jogador como uma narrativa pela indústria do entretenimento interativo, a crítica especializada e a comunidade gamer, a narrativa emergente também contém diferentes tipos e efeitos de imersão narrativa, além de atender a todas as funções narrativas, porém colocando o jogador num papel ativo e de coautoria da história. A pesquisa exploratória realizada neste trabalho identificou doze elementos emergenciais provenientes da mecânica e do comportamento dos jogadores que fomentam a narrativa emergente nos jogos digitais, servindo de base para o estudo de caso do jogo Metal Gear Solid V: The Phantom Pain. Além de servir como modelo de análise para jogos de gêneros afins, esse doze elementos emergenciais também podem auxiliar na concepção de mecânicas de jogos digitais com elevada narrativa emergente.
Due to the differential of interactivity, digital games have a singular narrative potential that let players build their own narratives even in ludic genres with little or no explicit story. Consolidated as a language of digital games, the emergent narrative enjoys multidisciplinary principles of game design to provide the multiformity in games, especially in the sandbox and open world genres. Despite the frequent questioning of the validity of the player's experience as a narrative by the interactive entertainment industry, specialized press and the gaming community, the emergent narrative also contains different types and effects of narrative immersion, in addition to service all narrative functions, but putting the player in an active role and co-author of the story. Exploratory research performed in this work identified twelve emergency elements from mechanical and behavior of the players that promote emerging narrative in digital games, providing the basis for the case study of the game Metal Gear Solid V: The Phantom Pain. In addition to serving as an analytical model for game related genres, this twelve emergency elements can also assist in the conception of game mechanics with high emergent narrative.
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Chan, Pauline B. "Narrative participation within game environments: role-playing in massively multiplayer online games." Thesis, Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/37126.
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Massively multiplayer online games (MMOGs) present fantastic, persistent worlds and narratives for a community of players to experience through pre-defined rules, roles, and environments. To be able to offer the opportunity for every player to try the same experiences, many game developers have opted to create elaborate virtual theme parks: scripted experiences within static worlds that cannot be affected or changed through player actions.
Within these games, some players have turned to role-playing to establish meaningful connections to these worlds by expanding upon and subverting the game's expectations to assume a limited sense of agency within the world. The interaction between role-players and the locations they occupy within these worlds is a notable marker of this narrative layering; specific locations inform social codes of conduct, designed by developers, and then repurposed by players for their characters and stories. Through a qualitative case study in World of Warcraft on public role-playing events, this thesis considers how the design of in-game locations inform their use for role-playing, and how locations are altered through storytelling as a result.
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Host, Mark Ivan. "Final Fantasy X and Video Game Narrative: Re-Imagining the Quest Story." Cleveland, Ohio : Cleveland State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1242246706.
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Thesis--(M.A.)Cleveland State University, 2009Abstract. Title from PDF t.p. (viewed on June 11, 2009). Includes bibliographical references (p. 42-44). Available online via the OhioLINK ETD Center. Also available in print.
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Rogers, Katja [Verfasser]. "Realism in player experience : exploring game interaction, narrative, and audio / Katja Rogers." Ulm : Universität Ulm, 2021. http://d-nb.info/1227450702/34.
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Morton, Alexander F. "Testing an Original Story in Multiple Artistic Mediums." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/298.
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The Story is one of the oldest forms of communication between humans. Various methods have enhanced and updated the Art in a variety of ways since the concept was created. In modern times, a story can exist in multiple mediums because of the variations that humans use today to tell stories. I present an artistic project that will show my development of an original universe, plot, and characters into a storyline introduction for enjoyable purposes. The belief was that these ideas I created could succeed in multiple formats, but I would need to narrow it down and test what I had created. I chose two different mediums, a Written Narrative and a Video Game, as means to tell my story as much as I could within the time frame. By using the opinions of others, I’ll learn if either project can be successful in telling my story and which method offered the best experience with my particular story ideas to share with an individual.
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Nanamaker, Benjamin. "Emergent gameplay the limits of ludology and narratology in analyzing video game narrative /." Connect to resource, 2005. http://hdl.handle.net/1811/5884.
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Thesis (Honors)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages: contains 52 p.; also includes graphics. Includes bibliographical references (p. 53-58). Available online via Ohio State University's Knowledge Bank.
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Schubert, Stefan. "Objectivism, narrative agency, and the politics of choice in the video game BioShock." Poetics of politics : textuality and social relevance in contemporary American literature and culture / Sebastian M. Herrmann [Hrsg.] ... Heidelberg : Winter, 2015. S. 271-289. ISBN 978-3-8253-6447-2, 2015. https://ul.qucosa.de/id/qucosa%3A14847.
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In this article, I investigate the video game BioShock for its political and cultural work and argue that it offers a popular platform to discuss the politically charged question of choice, both inside and outside the realm of video games. In a first section, I introduce the game’s basic plot and setting, propose a way to study how video games operate narratively, and briefly discuss the ‘political’ dimension of games in general. Afterwards, I look at how BioShock is influenced by Ayn Rand’s philosophy of objectivism, a philosophy that emphasizes the importance of individual choice and self-interest, and I trace this influence specifically in the
game’s main antagonist, Andrew Ryan, and its setting, the underwater
city of Rapture. With these elements as a basis, I analyze how BioShock engages with the politics of choice, focusing on a major twist scene in the game to demonstrate how BioShock deals with the question of choice on a metatextual level. Reading this scene in the context of the game’s overall narrative, specifically of moral choices in the game that lead to different endings, I argue that the game metatextually connects the political question of choice inherent in objectivism to the narrative and the playing of the game, pointing to the ambivalences inherent in questions of choice, agency, and free will.
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Turečková, Šárka. "Using player's facial emotional expressions as a game input : Effects on narrative engagement." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12883.
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Even self generated facial expression could hypothetically affect emotional engagement in narrative and with it possibly even other aspects of narrative engagement. This thesis evaluates effects of using player's facial emotional expressions as a game decision input in a social situation on narrative engagement and its dimensions. To evaluate this, players' experiences from each of the versions of for this purpose developed game are collected, compared and analysed. The data collection is conducted through Busselle's and Bilandzic's (2009) narrative engagement scale, additional questions, observations and short interview with focus on characters and goals. Effects on narrative engagement couldn't be statistically proven. However, from the analysis was shown, that using player's facial emotional expressions as a game decision input in a social situation could possibly positively affect empathic engagement with characters and enjoyment.
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Schubert, Stefan. "Objectivism, narrative agency, and the politics of choice in the video game BioShock." Universitätsbibliothek Leipzig, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-206598.
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In this article, I investigate the video game BioShock for its political and cultural work and argue that it offers a popular platform to discuss the politically charged question of choice, both inside and outside the realm of video games. In a first section, I introduce the game’s basic plot and setting, propose a way to study how video games operate narratively, and briefly discuss the ‘political’ dimension of games in general. Afterwards, I look at how BioShock is influenced by Ayn Rand’s philosophy of objectivism, a philosophy that emphasizes the importance of individual choice and self-interest, and I trace this influence specifically in the
game’s main antagonist, Andrew Ryan, and its setting, the underwater
city of Rapture. With these elements as a basis, I analyze how BioShock engages with the politics of choice, focusing on a major twist scene in the game to demonstrate how BioShock deals with the question of choice on a metatextual level. Reading this scene in the context of the game’s overall narrative, specifically of moral choices in the game that lead to different endings, I argue that the game metatextually connects the political question of choice inherent in objectivism to the narrative and the playing of the game, pointing to the ambivalences inherent in questions of choice, agency, and free will.
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Kenobi, Ben Tuhoe. "Hiding in a hollow tree." AUT University, 2010. http://hdl.handle.net/10292/886.
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Starting with a broad analysis of game story-telling methods, this project seeks to interrogate a player’s occupation and navigation of the possibility space of a game’s meta-narrative and isolate ‘story-telling’ techniques specific and inherent to the computer-game medium. This leads to a series of formalized design schema, on the meta-narrative – game-play relationship, to assist computer-game design practice.
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Furtner, Anita Lynn. "ENTERTAINING CRISIS: WHAT 21ST CENTURY CORPORATIONS CAN LEARN FROM THE RHETORIC OF CRISIS IN FILM AND COMPUTER GAMES." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/145449.
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This project aims to discover if there is useful overlap between the recommended rhetorical responses to crises as defined by organizational communication specialists and the rhetorical responses frequently portrayed in various forms of mass media entertainment. Specifically, it investigates the potential effectiveness of these mass mediated crisis portrayals and identifies whether the rhetoric of crisis depicted in them could help inform and educate organizational responders to better communicate internally in crisis scenarios. This research may provide a better understanding of how rhetoric in real and fictive contexts works to shape real-world responses to crises.
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Mallon, David Timothy. "Bringing community to the holodeck : interactive narrative and the massively multiplayer online role-playing game." Thesis, Georgia Institute of Technology, 2001. http://hdl.handle.net/1853/19687.
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Ellen, Mårtensson. "The Testing Bureau – Creating a climate fiction game to influence the narrative of climate change." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23597.
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The stories humans tell and are told about climate change matters in our understanding of the phenomena, and have an impact on how we act in relation to it. However, climate fiction video games are few in numbers. This project presents the development of “The Testing Bureau”; an interactive fiction game with a story inspired by climate research. The research used is that of the shared socioeconomic pathways: five scenarios that present different socio-economic and political movements and their impact on mitigating and adapting to climate change (O’Neill et. al 2015). The game has been created as a response to the lack of climate fiction within video games, as well as being a way to make climate change research visible outside of scientific circles. Playtests indicated that the game held the potential of spurring personal reflection and engagement on the topics of the policies and possible endings.
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Joar, Hedvall, and Claesson Charlie. "Character description by the use of level design and game mechanics : A study on how to convey a character based narrative within a game." Thesis, Uppsala universitet, Institutionen för speldesign, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-260644.
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This study is an investigation of the possibilities to create levels that convey a character and its personal narrative with the use of three level design methods. The used methods are: the use of smaller objects and details to convey information, using the player's personal references and memories and having a clear goal for the player. The results are gathered though qualitative interviews with the participant in the study and examining how participants interpret the narrative in game levels that were designed by using these three level design methods. This study uses the game Project Rewind as test bed, which was partially developed for this thesis purpose. The test result have shown that players took more notice of clusters of smaller visual objects, and memorized interactive objects much better than the stationary objects. They also used their own personal and cultural references, memories and stereotypes when analysing the objects in the levels to create an image of the character presented to them. Based on the results that we received from the interviews we found that having a clear demographic is important when designing a narrative level that needs be easy to understand. This is because of each player's own personal references, certain things can be perceived differently based on the player's references. The test results also show that the three level design methods mentioned can to a certain degree be used to convey a narrative when used to design a level.Denna studie är en utredning av möjligheterna att skapa spelnivåer som förmedlar en karaktär och dess personliga berättelse med användning av tre level design metoder. De använda metoderna är: användning av mindre objekt och detaljer, användning av spelarens personliga referenser och minnen samt att ha ett tydligt mål för spelaren. Resultaten samlas in genom kvalitativa intervjuer med deltagarna i studien och analysera hur deltagarna tolkar berättelsen i spelets nivåer som var designade med hjälp av dessa tre level design metoder. Denna studie använder spelet Project Rewind för testerna, detta spel var delvis utvecklat för denna studiens ändamål. Test resultaten visar att spelaren tog upp mer information genom kluster av mindre visuella föremål, och memorerade interaktiva objekt mycket bättre än de stillastående objekten. De använde också sina egna personliga och kulturella referenser, minnen och stereotyper när de analyserade objekten i nivåerna för att skapa en bild av karaktären presenteras för dem. Baserat på de resultat som vi fått från undersökningen fann vi att det är viktigt att ha ett tydligt demografiskt mål, vilket är viktigt när man utformar en berättelse i en spel nivå som ska vara lätt att förstå. Detta är på grund av varje spelare har sina egna personliga referenser, vissa saker kan uppfattas på olika sätt beroende på vad för referenser man har. Test resultaten visar också att de tre level design metoderna som nämndes tidigare kan till en viss grad bli använda för att förmedla ett narrativ när man använder dem för att designa en nivå.
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Wood, Hannah. "Video game 'Underland', and, thesis 'Playable stories : writing and design methods for negotiating narrative and player agency'." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/29281.
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Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.
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Mörtsell, Lisa. "Should I stay or should I go? : Developing the Narrative model as a tool for game design." Thesis, Umeå universitet, Institutionen för informatik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-149243.
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In 2015, the Narrative model was created as a result of a study exploring how episodic games keep player’s interests through combining narrative and gameplay. In this thesis, the Narrative model is used as a framework for designing a language game for children to see whether that makes players more inclined to keep playing than a game not designed based on the model. Two games were created and evaluated in a within subject controlled experiment. Player enjoyment was measured by using GameFlow as a basis for interview questions and Likert scales. The results indicated that the game based on the model more successfully achieved GameFlow than the game that was not. As such, it was concluded that the model can be used as a tool for game design to increase the desire to keep playing a game, but that it needs further study to be validated.
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Jeunesse, Jean-Paul. "Measuring Interactive Narrative Quality with Experience Management as Story Graph Pruning." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/honors_theses/129.
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An interactive narrative in a virtual environment is created through player and system interaction, often through an experience manager controlling the actions of all non-player characters (NPCs). Thus, the narrative (and its quality) is entirely dependent on a conflicting combination of unpredictability from the player and a controlled environment that must react to this unpredictability. Ideally, the experience manager should decide NPC actions in a way that never limits player freedom and shows the NPCs acting in believable manners to create a story that can be meaningfully affected by the player and feels organic. One solution to this is to view experience management as a story graph pruning problem. Nodes in the graph represent all the states that the virtual environment could possibly represent. These nodes are then connected by edges, which represent the actions that change one state to another. This graph is then intelligently pruned until NPCs have believable, unambiguous actions to take in every state, while never pruning player actions, with the intention of offering a more meaningful narrative.
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Viklund, Elin. "Sagan om den borttappade drakmodern : Intersektionell maktanalys om skillnader mellan boken A Game of Thrones och tv-serien Game of Thrones utifrån ett berättarperspektiv." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-169593.
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In this essay I make a narrative analysis, based on the book A Game of Thrones and the tv-series Game of Thrones, about how the relationships between the characters Daenerys Targaryen and Khal Drogo, as well as Daenerys and Viserys, are portrayed in different ways between the versions. I analyze how these differences relate to intersectionality and sexuality, and how the perception is affected on the relationships based on the narratology of the book, towards the tv-series. Since Daenerys has her own chapters in the book, and not Viserys or Drogo, I will in that version base my analysis from her perspective. While from the tv-series, I base my analysis from picture sections, for example, with focusing on the characters and how their emotions can be portrayed, as well as the background music. The relationship between Daenerys and Viserys shows the power play between them, while her relationship with Drogo shows how she gets oppressed, and how she then uses this to her own advantage to gain power. And I show in the analysis when Daenerys tries to save women from sexual violence, which ultimately leads to her losing her power.I denna uppsats gör jag en narrativ analys, där jag utgår från boken A Game of Thrones och första säsongen av tv-serien Game of Thrones, om hur relationerna mellan karaktärerna Daenerys Targaryen och Khal Drogo, samt Daenerys och Viserys, framställs på olika sätt mellan versionerna. Jag analyserar hur dessa skillnader förhåller sig till intersektionalitet och sexualitet, samt hur synen på relationerna påverkas utifrån narratologin i boken, gentemot tv-serien. I analysen utgår jag från Daenerys perspektiv i boken, då hon har egna kapitel och inte Drogo eller Viserys. Däremot utgår jag från bildutsnitt i tv-serien, till exempel med fokus på karaktärerna och hur deras känslor kan gestaltas, samt bakgrundsmusiken. Relationen mellan Daenerys och Viserys visar maktspelet mellan dem, medan hennes relation till Drogo visar hur hon blir förtryckt och hur hon sedan använder detta till sin egen fördel för att få makt. Jag visar även i analysen när Daenerys försöker rädda kvinnor från sexuellt våld, som i slutändan leder till att hon förlorar sin makt.
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Acarsoy, Sara Nil. "Effects of interactivity on narrative-driven games : A heuristic approach for narrative-driven games." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-19844.
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In narrative-driven games, the story is an essential part of the gameplay, and understanding the story is of great importance. Given that what separates this genre from other storytelling media is interactivity, this thesis focuses on the elements in narrative-driven video games that effects the players' perception of narrative through interactivity. Using players' likes and dislikes from their previous experiences in narrative-driven games, this thesis aims to develop a heuristic approach for interactive narrative elements that offer the narrative through players' input to the game's system and create an effective gameplay experience that delivers the story to the players.
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Perkins, Kyle Eric. "Lifesigns: Successful Storytelling in Open-World Games." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1290205847.
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Brunnberg, Jimmy. "How tools shape the game authoring process." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-18694.
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This study aims to answer how Interactive Digital Narrative authoring tools shape the authoring process. Any tool or software shapes the way its users interact with it, oftentimes without the user even knowing it. It is therefore important to understand how these processes work when talking about authoring tools for IDNs, as they will inevitably shape its output. Three authoring tools were selected, those three being TextureWriter, Scrivener, and Twine. A standardized Game Design Document was created, and four participants were recruited to use those three authoring tools to adapt said Game Design Document. A focus group was conducted after the participants had used their tools for a fair amount of time to ascertain their authoring process experience. In the end, the participant using Twine did not attend the focus group, prohibiting evaluation of that tool. The results showed that there are a number of previously unknown ways in which the two evaluated authoring tools shape the game authoring process: Fundamental structure, temporal structure, spatial structure, presentation structure, mechanics of interaction, and multimedia inclusion. The results also showed a strong correlation between a master narrative and in how the authoring tool limited the author.
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Papworth, Sofia. "Storytelling through Gameplay : Dimensions of AI Design for Narrative Purposes." Thesis, Umeå universitet, Institutionen för tillämpad fysik och elektronik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-115769.
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A vast number of game developers long for and seek to create games that impact and emotionally engages their players. However, it has proven to be a tough challenge to overcome, as a lot of narrative games today completely separate their emotional stories from their engaging gameplay. Extending this insight, this paper proposes the theoretical basis intendedto contribute to the understanding of how to create expressive AI agents, by answering the following question: How can developers tell stories through an AI agent's behaviour? A further key element in this paper is the creation of a conceptual framework, based on a literature study, exemplifying how AI agents can be designed to contribute and support the narrative in a game. The framework suggests that creating these types of AI agents is an iterative process of defining the core themes within a game, deriving an agent's purpose from these and building its behaviours from that purpose. Also, defining how to communicate these behaviours to the player. The framework also emphasizes the importance of user testing during the design process, as a way of evaluating the balance of transparency and emergence within the AI system of the game. The framework is exemplified with a case study conducted on an AI agent, designed and developed for the game Shelter 2: Paws by game studio Might and Delight. The results of the study shows that AI agent has a close connection to the narrative through the main themes of friendship, cooperation and growing up in the game. Finally, the AI agent design is evaluated through user tests, which shows that players interact with the agent as expected and share the game experience that is intended by the developers.
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Silva, Alexandre Vieira da. "A função do narrador como agenciador narrativo em ambientes tridimensionais imersivos em games de RPG." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/18138.
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Previous issue date: 2014-02-19The research aims to discuss the possibility of reducing the conflict between the drama of classic interactive media and freedom of digital media through the development of an electronic game focused on the narrator and the act of narration , introducing the concept of narrative management, contextualizing it within digital games and discussing the relevance of the presence of a narrator in real time intervening in the discourse . The discussion starts from the premise inserting a interactor , endowed with the functions of narrating and acting within the game , which has the task of managing immersive three-dimensional environments and conducting an interactive narrative experience with greater breadth and dramatic . Through participation in the narrative of human intelligence driving within the interactive medium , it seeks to reduce the verbal limitations of the media and create a favorable condition for the application of classical narrative structures in the digital environment . The research relies methodologically on two core elements: narrative structures applied to the digital medium , aligning the narrative and drama to new concepts such as procedural narrative classic elements and features of the digital narrative , and investigates the possibilities of introducing the figure of interactor / narrator in a new digital narrative structure , in which it is possible and in this game, player to reach a wider range of possibilities of meaning and narrative
A pesquisa apresenta e analisa a situação de conflito entre a dramaticidade das mídias clássicas e a liberdade interativa das mídias digitais através do desenvolvimento de um jogo digital focado no narrador e no ato de narrar. Apresenta o conceito de gestão narrativa, contextualizando-o no âmbito dos jogos digitais e discutindo a relevância da presença de um narrador em tempo real intervindo no campo do discurso intra jogo. A análise e discussão partem da premissa da necessidade da inserção de um interator, dotado das funções de narrar e atuar dentro do jogo, o qual tem a tarefa da gestão dos ambientes tridimensionais imersivos do jogo e da condução de uma experiência narrativa com maior amplitude interativa e dramática. (Hipótese) Através da participação da inteligência humana na condução narrativa dentro do meio interativo, se busca diminuir as limitações verbais da mídia e criar uma condição favorável à aplicação de estruturas narrativas clássicas no ambiente digital. A pesquisa apoia-se metodologicamente em dois elementos de base: estruturas narrativas aplicadas ao meio digital, alinhando elementos clássicos da narrativa e do drama a novos conceitos como a narrativa procedural, e particularidades da narrativa digital; e investiga as possibilidades de introdução da figura do interator/narrador dentro de uma nova estrutura de narrativa digital, na qual seja possível que este, bem como o jogador presente no jogo, alcancem uma gama maior de possibilidades de sentido e narrativa
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Lopes, Lucas Garofalo. "Desfocando as linhas: ARG - a estrutura imperceptível do jogo." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-10112010-115614/.
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Este projeto tem como objetivo analisar o gênero emergente de jogos conhecido como ARG. Utilizando a teoria nos campos do videogame e jogos em geral, se espera estabelecer características intrínsecas aos ARGs, assim como suas relações com os jogadores, com o mercado, a imprensa e o público em geral. Com isso se pode observar que os ARGs possuem características únicas, que os diferenciam dos videogames e outros jogos. Essas mesmas características os tornam promissores e ao mesmo tempo polêmicos por misturar a ficção e o jogo com a realidade. Por isso é necessário um maior rigor no desenvolvimento deste gênero de jogos para que estabeleça padrões reconhecíveis e alcance novos mercados.This project aims to examine the emerging genre of games known as ARG. Using the theory in the fields of videogames and games in general, is expected to set up specific features of ARGs, as well as its relations with the players, the business market, the press and the general public. Through this, its possible to see that the ARGs have unique characteristics, which are different from videogames and other games. These characteristics make them promising while controversial for mixing fiction and the game with reality. Therefore it is necessary more accuracy in the development of this genre of games to establish recognizable patterns and reach new markets.
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Zhang, Xiyue. "Adaptation of First-Person Narrative Literature: Revisiting Kazoku gēmu (1981) and The Family Game (1983)." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1566201526952622.
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Weir, Charissa. "Narratives and the Legal Game: Narrative Power Dynamics and Their Reproduction In the Sexual Assault Trial of R. v. Ghomeshi." Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/40518.
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Legal practice heavily depends on the construction and evaluation of narrative accounts. The ability to legitimately narrate a series of events is a source of power that is unequally distributed in the courtroom. Grounded by a detailed empirical analysis of the court transcripts from R. v. Ghomeshi (2016), this dissertation investigates the relations of power and taken-for-granted assumptions that condition struggles over narrative construction in the sexual assault trial. The project contributes to feminist critiques of sexual assault trials by mobilizing the work of Pierre Bourdieu, which has been largely overlooked in feminist socio-legal scholarship, and by showing how the concepts of narrative capital and what I term configurational power can help us examine narrative power structures. Briefly, narrative capital refers to the speaking positions and properties that bestow authority on one’s narrative practices. The term configurational power refers to the ability to legitimately organize a set of events and experiences into a narrative whole. Through consideration of the conditions and premises that structure who can narrate, in what manner and with what legitimacy, we can better understand the factors contributing to the discrediting of certain testimonies in the courtroom.
Analysing the court transcripts revealed several techniques through which the lawyers exercised configurational power and narrative domination over the complainants during the trial: disconnecting and interrupting the complainants’ accounts; highlighting the complainants’ position as unknowing characters; configuring inconsistencies in their accounts; and controlling the narrative ending. Unequal distributions of configurational power constituted a relation of domination that existed as self-evidently legitimate, a form of domination that Bourdieu refers to as symbolic violence. The standards of legal impartiality, autonomy, and objectivity, as well as cultural stock stories about sexual assault and law’s taken-for-granted view of reliable memory, were enacted in the courtroom narrative practices and contributed to the reproduction of this symbolic violence. The unequal relations of narrative capital and configurational power in the courtroom limited the complainants’ ability to narrate their victimization and allowed the defence lawyers to create narrative twists during cross-examination that framed the complainants as manipulative women and upended their claims of victimhood. Through this dissertation, I critically analyze the relations of domination that both condition and were reproduced in the courtroom practices of narrative telling and interpretation.
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Norman, Fredrik. "“A peaceful world is a boring world” : a study in narrative structure and mythological elements in Squaresoft‟s Chrono Trigger." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-8534.
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The focuses of this paper are narrative structures and mythological elements in the video game Chrono Trigger. A qualitative method was used to code the game world's seven eras into themes of symbolism, quest-themes, and, characters. These themes were compared with Northrop Frye's archetypal myth theory from Anatomy of Criticism. The results show that each age relates to a season and moves due to the player's influence according to a cyclical pattern. Six out of seven epochs show high correlation to Frye's archetypal model whereas options such as to discard the main hero illustrates the player's control. The seventh era pictures a more female symbolism than the male dominant template proposed by Frye. A hypothesis is presented with the concept of a fluent surface which argues that the player manipulates the basic story to build a personal narrative. Furthermore, the hypothesis emphasizes that the specific game mechanics stimulates the player's sensitivity to the narrative elements when constructing an individual ideal story.
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Hedström, Joakim. "Sekvensbryt vs narrativ : En obefogad konflikt?" Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-16954.
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Denna rapport utforskar forskningsfrågan hur uppfattar erfarna spelare det avsiktliga utövandet av sekvensbryt i relation till deras upplevande av ett spels narrativ? då granskning av tidigare forskning kring ämnet sekvensbryt väckt frågor kring spelares åsikter om ämnet och huruvida utövandet av sekvensbryt är motsatt viljan att uppleva spelnarrativ. En studie utformades med ändamålet att samla spelares åsikter kring sekvensbryt. För att åstadkomma detta skapades ett textspel kallat Sequerience som gav spelare möjligheten att utöva sekvensbryt och detta användes i kombination med en enkät där de kunde reflektera över ämnet. Studien spreds online och till kanadensiska universitetskretsar och totalt deltog 11 personer. Dessa svar var tillräckliga för att etablera att det finns spelare som kan avsiktligt utöva sekvensbryt med viljan att uppleva ett spels narrativ i behåll. Vid framtida studier kan ett större deltagarantal ge djupare insikt i de olika ställningar som spelare kan ha gentemot sekvensbryt i relation till upplevandet av narrativ.This report explores the research question how do skilled players perceive the intentional act of sequence breaking in relation to their experiencing of a game’s narrative? as examination of earlier research has raised questions concerning players’ opinions on the matter and whether the act of sequence breaking is counter to the desire to experience game narratives. A study was designed in order to collect players’ opinions on sequence breaking. This involved the creation of a text-based game called Sequerience wherein players were given the opportunity to perform sequence breaking, combined with a survey collecting the players’ thoughts on the subject. The study was spread online and to Canadian universities, with a total of 11 participants. The responses were sufficient to establish that there are players who may intentionally perform sequence breaking while maintaining the desire to experience a game’s narrative. In future studies, a larger amount of participants may give deeper insights in the various perspectives players may have on sequence breaking in relation to the experiencing of narratives.
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Sjöström, Johan. "Morphology of a digital narrative : prototyping digital narratives using the theories of Vladimir Propp." Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1929.
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This paper will detail the prototyping and subsequent production of an digital narrative experience utilizing the theories of Vladimir Propp. The prototype will examine the theories detailed in Propps Morphology of the Folktale. It will implement Propps narrative functions according to a general scheme, connected by connectives. The prototype will dynamically generate narratives according to this scheme. Finally, this paper will draw conclusions about the advantages of a Propp-based system of narrative generation and the narratives produced compared to other digital narratives, such as hypertext.
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Stateri, Julia. "Vídeo game como mídia da construção narrativa." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/1998.
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Previous issue date: 2009-02-10This work has as study object the videogames and it s propose as a narrative creation media. Intends to define the concepts of narrative and game departing from a historical and contextual fundamentation. Through this, intends to align the technological revolution with the creation and evolution of the videogames, considering its social and philosofical implications about individual subjectivity and his possibilities of expression.
Este estudo tem por objeto os videogames e sua proposta como mídias da criação de narrativas. Pretende definir os conceitos de narrativa e jogo partindo de uma fundamentação histórica e contextual. A partir disto, pretende alinhar a revolução tecnológica à criação e evolução dos videogames, considerando suas implicações sociais e filosóficas, no que diz respeito à subjetividade do indivíduo e suas possibilidades de expressão.
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Carvalho, Rogério Teixeira Cathalá de. "Sonho dentro de um sonho: estudo de estruturas narrativas oníricas para o desenvolvimento do roteiro de um videogame." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-18052015-165700/.
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Estudo de estruturas narrativas no cinema e nos games construídas a partir do elemento onírico. As obras analisadas são elaboradas como emulação/simulação de sonhos, memórias ou alucinações dos personagens. A análise servirá para o desenvolvimento do roteiro de um jogo eletrônico baseado no conceito de sonho lúcido, fenômeno em que o sujeito adquire consciência da realidade onírica.The Master Thesis\'s objective is to study narrative structures in cinema and games that is constructed with oneiric elements. The films and games studied are representation or emulation/ simulation of the character\'s dreams, memories or hallucinations. The research will serve as basis to write a screenplay and a Game Design Document to a electronic game based on the concept of Lucid Dreaming. Lucid Dream is when one adquire conscious thought and lucidity in their dream state
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Fernandez, Vara Clara. "The tribulations of adventure games integrating story into simulation through performance/." Diss., Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/31756.
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Thesis (Ph.D)--Literature, Communication, and Culture, Georgia Institute of Technology, 2010.Committee Chair: Murray, Janet H.; Committee Member: Bolter, Jay; Committee Member: Montfort, Nick; Committee Member: Nitsche, Michael; Committee Member: Pearce, Celia. Part of the SMARTech Electronic Thesis and Dissertation Collection.
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Andersson, Oscar, and Tim Grödem. "Förenklade drama managers : Att producera emergenta narrativ medförenklade metoder." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17271.
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Det finns ett antal berättarmetoder inom datorspel. De vanligaste formerna som används är linjärt och förgrenat berättande, men det finns en metod som inte används i samma utsträckning, kallad emergent berättande. Detta är en typ av berättande där spelaren själv baserat på samspelet mellan spelets system kan forma sitt egna narrativ. Det är dock inte helt definierat vad emergent berättande innebär. Denna studie använder sig av en artefakt för att utforska emergent berättande med hjälp av system kallade Drama Managers som syftar till att kontrollera händelseförloppet i ett spel så det bildar ett narrativ. Syftet med studien var att utforska om en förenklad Drama Manager kunde åstadkomma ett emergent narrativ eller om den enbart skulle producera ett förgrenat narrativ. Artefakten prövades på personer insatta inom ämnena spel och narrativ och de intervjuades om deras uppfattningar av artefakten. Slutsatsen är att element av emergens kunde identifieras, men inte till den grad att artefakten upplevdes innehålla ett emergent narrativ. Kunskapen ifrån studien skulle kunna hjälpa till att definiera skillnaden mellan emergenta narrativ och förgrenade narrativ.There are a few storytelling methods for video games. The most common forms are linear and branching narratives, but there is one method not used to the same extent, known as emergent narrative. This study uses and artifact to explore emergent narrative using systems known as Drama Managers that aim to control the sequence of events in a game to create a narrative. The purpose of the study was to explore if a simplified drama manager could produce emergent narratives. The conclusion is that elements of emergence could be identified, but the artifact could not be considered to contain an emergent narrative. This knowledge could be used to help define the difference between emergent and branching narratives.
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Núñez, Montero Rocio Poulette. "La narrativa transmedia y el comportamiento del prosumidor en la octava temporada de la serie de Game Of Thrones." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653164.
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El presente trabajo analiza el tema sobre la narrativa transmedia y el prosumidor en una serie mundialmente conocida como lo es: Game of Thrones. Es esta investigación trataremos los conceptos principales de los términos: “narrativa transmedia” y “prosumidor”. Se explicarán en dichos conceptos para informar al lector de estos nuevos significados que se ve en el nuevo medio audiovisual. En adición a ello, se hablará sobre los “nuevos medios”, mostrándoles las nuevas plataformas que se han ido creando a lo largo del tiempo y el motivo por el que estas mismas son tan atractivas para la audiencia. Finalmente, se describirá a los “nuevos consumidores”, donde se muestran a las diferentes audiencias y la creación de estas mismas.
Todas estas definiciones se relacionan de manera directa con el tema de investigación, que involucra identificar el rol del prosumidor por medio de la experiencia transmedia ha logrado que la serie sea un éxito mundial.The present study analyzes transmedia storytelling and prosumers in Game of Thrones, a world-famous series. This research will cover these two main concepts to inform readers about the new notions existing in modern audiovisual media. In addition to this, the concept of “new media” will be explained, showing new platforms that have been created over time and the reason why they are so attractive to audiences. Finally, the study will describe “new consumers” by presenting different types of audiences and their emergence. All these concepts are directly related to the research topic, which implies identifying the prosumer’s role through the transmedia experience that led the series to worldwide success.
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Carlström, Elin, and Sofie Danbrant. "Att bryta den Fjärde Väggen : Metalepsis i spel." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18188.
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Att göra något som kallas för att “bryta den fjärde väggen” i spel, att adressera spelaren utöver spelmediets ramar, är något som har intresserat oss sedan länge. Att söka om den fjärde väggen och spel på internet har visat sig varit fruktlöst, tills vi upptäckte termen metalepsis. Metalepsis betyder bokstavligen “a jump across” och härstammar från berättarteori där det hanterar hur ett narrativs olika nivåer behandlas. I det här arbetet tar vi hjälp av Karin Kukkonens och Sonja Klimeks artiklar för att djupdyka i termen och dess användning i medier som litteratur, film och musik video samt spel. Vi tar hjälp av Astrid Ensslins och Huaxin Weis arbeten för att förstå varför metalepsis i spel är ett outforskat område och varför narrativen endast studeras på en ytlig nivå. Vi vill därför med frågeställningen “hur kan metalepsis användas i spel?” bidra med mer information om metalepsis i spel och undersöka en medveten användning i utvecklingen av ett spel. Genom att undersöka metalepsis i spel och andra medier, har vi skapat oss en uppfattning av hur det har använts upp till den här punkten för att sedan kunna applicera på vår gestaltning. Arbetet fokuserar på en metalepsis kallad Möbius Strip, som innebär ett narrativ som börjar om i sig självt. Utifrån Georg Kreislers bok Der Schattenspringer har vi tolkat hur en Möbius Strip kan se ut. Gestaltningen, i form av ett spel, har vi sedan byggt på den här tolkningen och jämfört resultatet med bokens version av metalepsen. Det vi har fått ut är fler konkreta exempel på hur metalepsis har och kan användas i spel. Vi har kunnat skapa diskussion om hur vår gestaltning förhåller sig till boken genom Sonja Klimeks beskrivning av Möbius Strip metalepsen. Vi har endast skrapat på ytan av det som kallas metalepsis i spel med det här arbetet, och anser att det finns fler vägar att undersöka.The act of doing something that is called “breaking the fourth wall” in video games, to address the player across the games’ scope, is something that has been in our interest for a long time. To search about the fourth wall and video games on the internet have been futile, until we stumbled upon the term metalepsis. Metalepsis literally means “a jump across”, it originates from narratology and handles how the different levels in a narrative are managed. In this Bachelor Thesis we take a deep dive into the term, with the help of Karin Kukkonen’s and Sonja Klimek’s work, and how it’s used in different medias such as literature, film, music videos and video games. We discovered why metalepsis in video games is an uncharted area with the help of Astrid Ensslin’s and Huaxin Wei’s work, and why studies of narratives in video games are executed in a shallow grade. With our research question we want to contribute with more information about metalepsis in video games and to examine a conscious use of metalepsis in the development of a video game. By surveying metalepsis in video games and other media, we have created an estimate on how it has been used so far and then to applicate the observation to our video game. This thesis lay it’s focus on a metalepsis called Möbius Strip, that consists of a narrative that restarts within itself. Using Georg Kreisler’s book Der Schattenspringer, we have made an interpretation on how Möbius Strip could work out. We have then developed a video game based on this interpretation and compared the results to the books version of the metalepsis. What we have gathered with this thesis is more tangible examples of the use of metalepsis in video games so far. We have been able to create a discussion about how our interpretation of Möbius Strip relate to the book, with the help from Sonja Klimek’s description of the metalepsis. We have only managed to scrape the surface on the topic of metalepsis in video games and feel like there are multiple other roads to investigate.
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Tessaro, Annye Cristiny. "Narrativas e games: um olhar do design literário-artístico." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21522.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Humanity has always used narratives to communicate. Over the years, theorists have realized that there was a common basic structure and formulation in the narratives that allowed stories to perpetuate and adapt in order to form new stories. The contributions of Aristotle, Vladimir Propp and Jung, based on the observation of a varied corpus of tales and fables, enabled the scholar Joseph Campbell to elaborate a narrative structure called “Hero’s Journey”, an elliptical and evolutionary cycle in which the central axis is the hero (and also its variations, such as the anti-hero). This structure is widely used in the construction of contemporary narratives which paved the way for writers such as Vogler and Mckee allowing them to propose it’s adaptation centered on the protagonist-hero for literature and cinema. From the 1970s, with the evolution towards an interactive possibility, the entertainment industry began to incorporate, although modestly, the narrative as a possibility to improve the immersion in games using, most of the time, the Writer’s Journey (structure adapted by Vogler) as a parameter for the construction of narratives in games. However, it is essential to realize that games have specific peculiarities, besides a high content of interaction differing from other media and, therefore, its structure can not be conceived in the same way as it was proposed by Vogler, requiring an adaptation which addresses such particularities. In addition, usually professionals who engage in storytelling for games are screenwriters (which does not seem to be the most appropriate because the art of narrative goes beyond the script), or are writers (who mostly lack specific knowledge and qualification in the games area). Considering what was stated above, we argue for the adoption of a Narrative Designer (term created in 2006 by Game Designer Stephen Dinehart) to designate this professional whose knowledge involves multiple skills – such as programming, art and writing – combining the areas of Narratology, Ludology, and Game Design. Thus, the purpose of this thesis is to investigate conventional narrative structures and how they are presented in games, which are the elements and tools that can help the narrative designer in the creative process
A humanidade sempre se utilizou de narrativas para se comunicar. Ao longo dos anos, os teóricos perceberam haver nas narrativas uma estrutura e uma formulação básica comum que propiciava que as histórias se perpetuassem e se adaptassem formando novas histórias. As contribuições de Aristóteles, Vladimir Propp e Jung, fundamentadas com base na observação de um corpus variado de contos e de fábulas, possibilitaram ao estudioso Joseph Campbell elaborar uma estrutura narrativa denominada “Jornada do Herói”, um ciclo elíptico e evolutivo no qual o eixo central é o herói (e também suas variações, tal como o anti-herói). Essa estrutura é amplamente utilizada na construção de narrativas contemporâneas e abriu o caminho para que roteiristas como Vogler e Mckee propusessem sua adaptação centrada no protagonista-herói para a literatura e o cinema, Com a evolução das possibilidades interativas, a indústria de entretenimento passou a incorporar, a partir da década de 1970, ainda que modestamente, a narrativa como possibilidade de refinar a imersão nos games utilizando, na maioria das vezes, a Jornada do Escritor (estrutura adaptada por Vogler) como parâmetro para construção das narrativas em games. No entanto, é essencial que se perceba que os games possuem particularidades específicas, além de um alto teor de interação diferenciando-se das outras mídias e, portanto, sua estrutura não pode ser concebida da mesma forma como foi proposto por Vogler, requerendo uma adaptação que contemple tais particularidades. Além disso, geralmente os profissionais que se dedicam à arte narrativa para games ou são roteiristas (que não parece ser o mais adequado, pois a arte narrativa vai além do roteiro), ou são escritores (que em sua maioria não possuem conhecimento e qualificações específicas na área de games). Diante do exposto, defende-se a adoção de Designer de Narrativas (termo criado, em 2006, pelo Game Designer Stephen Dinehart) para designar esse profissional cujo conhecimento envolve múltiplas habilidades – como programação, arte e escrita – combinando as áreas da narratologia, da ludologia e do Game Design. Sendo assim, a proposta desta tese é investigar as estruturas narrativas convencionais e como elas se apresentam nos games, quais são os elementos e as ferramentas que podem auxiliar o designer de narrativas no processo criativo
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Cimino, Santino, and Lundh Linus Persson. "On the Subject of Retroactive Characterisation in Games." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-18693.
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This paper will create, define & develop the concept of retroactive characterisation as a narrative device for games. In doing so, it will investigate a method of conveying character and narrative to a player after a given event has already taken place, hence, retroactively. The paper will present data collected through surveys and interviews held in conjunction with test sessions. The paper presents and discusses this data through compiled diagrams and interview transcripts, in order to fulfill its purpose of determining the validity of retroactive characterisation as a narrative device in games.
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Grimberg, Christian. "Creating Anomalies: A Study In Player Involvement Through Narrative In Alternate Reality Games." Thesis, Malmö högskola, Fakulteten för teknik och samhälle (TS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21040.
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This thesis project aims to explore the relationship between the players and the fictional worlds of alternate reality games (ARGs), concentrating on the aspects of immersion, player involvement and narrative. It investigates the connection between immersion and narrative, as well as to what extent the applying of narrative to physical environments contribute to the overall immersive experience of the players. The theoretical frame incorporates different aspects of game interaction, concerning game boundaries, game mastering and player experience, and includes an analytical presentation of a number of ARGs, challenging the traditional norms of game design. The theoretical framework is accompanied by a design process exploring game mechanics and player involvement through game testing. The assumptions drawn from the research, in combination with the outcome of the design process, suggest that because narrative utilized within ARGs is interactive it differs massively from traditional narration and the fact that it intersects the physical environment gives it properties that urges its users to dynamically collaborate to unfold its discourse.
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Williams, Klew. "Occlusion: Creating Disorientation, Fugue, and Apophenia in an Art Game." Digital WPI, 2017. https://digitalcommons.wpi.edu/etd-theses/409.
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Occlusion is a procedurally randomized interactive art experience which uses the motifs of repetition, isolation, incongruity and mutability to develop an experience of a Folie àDeux: a madness shared by two. It draws from traditional video game forms, development methods, and tools to situate itself in context with games as well as other forms of interactive digital media. In this way, Occlusion approaches the making of game-like media from the art criticism perspective of Materiality, and the written work accompanying the prototype discusses critical aesthetic concerns for Occlusion both as an art experience borrowing from games and as a text that can be academically understood in relation to other practices of media making. In addition to the produced software artifact and written analysis, this thesis includes primary research in the form of four interviews with artists, authors, game makers and game critics concerning Materiality and dissociative themes in game-like media. The written work first introduces Occlusion in context with other approaches to procedural remixing, Glitch Art, net.art, and analogue and digital collage and décollage, with special attention to recontextualization and apophenia. The experience, visual, and audio design approach of Occlusion is reviewed through a discussion of explicit design choices which define generative space. Development process, release process, post-release distribution, testing, and maintenance are reviewed, and the paper concludes with a description of future work and a post- mortem discussion. Included as appendices are a full specification document, script, and transcripts of all interviews.