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Visuellt berättande i spelmiljöer / Visual storytelling in game environmentsRynningsjö, Simon, Wahlström, Tim January 2014 (has links)
Abstrakt I den här uppsatsen undersöks hur ett narrativ kan drivas inom digitala spel enbart med hjälp av spelmiljön. Syftet är att få förståelse för vad miljöberättande behärskar som en självständig form av berättande och vad författarna kan göra för att uppnå detta mål. För att undersöka problemområdet genomfördes en spelproduktion där metoder framtagna under undersökningens gång applicerades. Produktionen testades av utomstående studenter i medieteknik och resultaten sammanställdes med reflektioner kring vad som uppnåtts och de metoder som applicerats. Undersökningen beskriver arbetsprocessen och metoder och visar hur dessa kan driva ett narrativ med en spelmiljö. Abstract In this thesis examines how to drive a narrative in digital games using only the game environment. The purpose is to gain an understanding of what environmental storytelling is capable of as an independent form of narrative and what the authors can do to achieve this goal. To study the problem area, a game production was conducted in which methods developed during the study was applied. The production was tested by other students in media technology and the results that came up were compiled with reflections on what was achieved and the applied methods. The study describes the work process, methods and shows how these can be used to drive a narrative with a game environment. / Detta är en reflektionsdel till en digital medieproduktion.
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Ludonarrative design & player experience : Vocabulary usage and purpose of ludonarrative explorationBlomquist, Sanna January 2023 (has links)
This paper deals with the differing vocabulary between academic and player discussions when it comes to discussing gaming experiences. The main terminology that is explored is ludonarrative dissonance and ludonarrative harmony along with its usage. Ludonarrative design is connected to a handful of other terminologies such as environmental storytelling and agency, which in my research I take a look at how this affects the player and their experience. The research method is the creation and usage of a taxonomy of vocabulary to attempt to bridge the discussions between players, designers and academics.
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How narrative techniques affect players' engagement in action RPG Dark Souls IIGraff, Lukas January 2018 (has links)
The purpose of the study was to get a better understanding of how players’ engagement is affected by the narrative techniques which are used in the game Dark Souls II. The four most prominent narrative techniques that were analyzed in Dark souls II were cutscenes, item descriptions, NPC’s and environmental storytelling. Qualitative and Quantitative data was collected in a questionnaire that was posted on the forum/ “subreddit” Dark souls II. The answers from 100 questionnaires were analyzed using content analysis methodology. It could be concluded in this thesis that narrative techniques that interfere with the players sense of freedom will reduce their engagement within the game. An example in Dark souls II is when the player is forced to summon NPC’s to boss fights in order to progress in the NPC’s storyline. This also works the other way around: i.e. the player experiences increased engagement if the narrative techniques allow the player to decide over their own actions. An example in Dark Souls II is when the player is given the opportunity to kill friendly NPC’s. / Syftet med denna studie var att få en bättre förståelse för hur spelarens engagemang påverkas av de narrativa tekniker som används i spelet Dark Souls II. De fyra mest framstående narrativa tekniker som identifierades i Dark Souls II var Cutscenes, föremålsbeskrivningar, NPC’s och miljöberättande. Kvalitativ och kvantitativa data samlades genom en enkät som lades upp på Dark Souls II forum/ ”subreddit”. Svaren från 100 deltagare tolkades med koder samt kategorier genom metodologin innehållsanalys. I denna studie kunde det konstateras att narrativa tekniker som negativt påverkar spelarens frihet, kommer reducera deras engagemang i spelet. Detta noterades bland annat när spelare var tvungna att kalla på NPC’s till bossfighter för att kunna fortsätta denna NPC’s uppdrag. Det angavs även att detta fungerade åt andra hållet, när spelarens förmåga att kunna ta egna beslut tilläts så ökade även spelarens engagemang i spelet. Detta noterades i spelmekaniken att spelaren bland annat tilläts döda fredliga NPC’s.
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Video game 'Underland', and, thesis 'Playable stories : writing and design methods for negotiating narrative and player agency'Wood, Hannah January 2016 (has links)
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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