Global ETD Search

1	“WHAT IS YOUR DPS, HERO?” : Ludonarrative dissonance and player perception of story and mechanics in MMORPGs. Karavatos, Athanasios January 2017 (has links) This thesis studies the MMORPGs and the ludonarrative dissonance that exist in the complexity of their design. Given the massive multiplayer nature of these games, players of different ambitions and gameplay preference need to coexist, which is a massive challenge for both the players themselves and the designers of these worlds. The balance of these two major aspects of the game, what affects the players and this tension, is the focal point of this thesis. By conducting a survey through various MMORPG player bases, this thesis concludes that this tension is not only a balance between narrative and mechanics but of other aspect as well. These aspects, intertextuality and community, this thesis argues, are the extra aspects that are tight connected with the balancing of narrative and mechanics in a MMORPG and the creation of these complex games and world. All these aspects are affected by the design decisions and affecting of how the players perceive the game world. MMORPG Narrative Ludonarrative Dissonance Design Annan elektroteknik och elektronik
2	DESIGN GUIDELINES FOR MAKING NARRATIVELY SYMBOLIC GAME MECHANICS : Literary Analysis of How the Yu-Gi-Oh Trading Card Game Visualises the Arthurian Legend With Game Mechanics Millqvist, Lydia January 2022 (has links) The relationship between narrative and game mechanics has been researched under terms such as ludonarrative dissonance, ludonarrative resonance and narrative mechanics. Yu-Gi-Oh! is a Trading Card Game which contains game mechanics that symbolically represents sections of the Arthurian legend. In this thesis the mechanics of specific Yu-Gi-Oh! cards were compared to the Arthurian legend. From this analysis were design guidelines derived, on how to represent a narrative with game mechanics. Game objects can be referenced by listing associated cards. The name of a mechanic can help in symbolically tell a narrative. The exclusion of a mechanic can also represent something. The conditions for a mechanic to be available is an area where narrative can be implemented. If a narrative mechanic is surrounded by many other mechanics, the symbolism can be “drowned out”. There is a balance between effective symbolism and a good game mechanic. Symbolism Ludonarrative Dissonance Ludonarrative Resonance Narrative Mechanics Yu-Gi-Oh Trading Card Game Arthurian Legend Game Design Guidelines Information Systems
3	Ludonarrative design & player experience : Vocabulary usage and purpose of ludonarrative exploration Blomquist, 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. Ludonarrative dissonance ludonarrative harmony player experience environmental storytelling narrative storytelling agency Information Systems, Social aspects
4	A Matter of Perspective : A Qualitative study of Player-presence in First-person Video Games Hansson, Mikael, Karlsson, Stefan January 2016 (has links) In this study we aimed to investigate the process through which players of video games situate, and form an understanding of their presence within the virtual game environment. This study specifically investigates this process in games played through a first person perspective with the intention of minimising the amount of visual information provided the participants. For this purpose we created two scenarios within a videogame environment specifically design for the study. A total of thirteen participants took part in the study, and after each season a semi structured interview was performed. In a qualitative content analysis we identified patterns and commonalities ascertaining to our line of questioning, and conclude that while the player-presence relationship would appear to be largely dependent on the individual’s type of play, the varying focus on either narratology or ludology in our two scenarios did indeed influence the participants to approach this relationship similarly within the separate groups. Finally we defined four types of player-presence relationship, and how they can be said to relate to the varying ludonarrative dynamics within the two specified genres, as well as the varying types of play observed amongst the participants in our study. first-person video games identification identity self self-perception perception immersion narrative user-study charakter fictional role-playing narratology ludology ludonarrative ludonarrative dissonance walking simulator crafting survival Dear Esther Minecraft player presence role
5	”Run you bastards! I’m coming for you all!” : En narrativ och processretorisk analys av Tomb Raider / "Run you bastards! I'm coming for you all!" : A Narrative and Procedurally Rhetorical Analysis of Tomb Raider Wahlsten, Christoffer January 2016 (has links) Uppsatsen tar sig – med utgångspunkt i en analys av spelet Tomb Raider (2013) – an frågan om hur karakterisering genomförs inom interaktiva dataspel. Wahlsten väljer att använda sig dels av Sonja K Foss metod för narrativ analys, dels av Ian Bogosts procedurala retorik för att visa hur karaktären Lara Croft konstrueras under loppet av spelet. Dessa två metoder används för att kartlägga verktygen med vilka spelets narrativ presenteras, såväl de interaktiva som de icke-interaktiva. Uppsatsen visar tydligt och med många exempel att det finns en spänning mellan narrativets krav och spelarens intressen som ifrågasätter idén om att interaktiva spel i första hand påverkar genom immersion - tvärt om är spelen uppbyggda på så sätt att spelaren förutsätts dels identifiera sig med huvudkaraktären, dels ta avstånd från och använda denna som ’en virtuell leksak’ under loppet av spelet. Därmed pekar också Wahlsten ut ett tämligen okänt men mycket intressant forskningsområde för retorikvetenskapen. Wahlsten är medveten om att hans val av studieobjekt inte är självklart inom retoriken, men argumenterar väl för behovet av att studier av spel/Virtual Reality är och i synnerhet i framtiden bör vara, ett centralt område inom retorikforskningen / The essay asks the question how characterization in video games is accomplished, with the subject of analysis being the video game Tomb Raider (2013). Wahlsten chooses to use the methodology of Sonja K Foss for the narrative analysis, in addition to Procedural Rhetoric coined by Ian Bogost. These two methodologies are used to map out the tools used to construct the narrative of the game, which includes interactive one as well as non-interactive ones. The essay clearly shows that there is a definite tension between the demands of the narrative on the player that puts into question the idea of interactive games mainly influencing through immersion. On the contrary, the game is constructed in such a way that the player is expected to identify with the playable character, while also motivating the player to distance itself from the character and use it as a sort of “virtual plaything”. Wahlsten thus highlights a fairly obscure but also highly interesting field of study within the Rhetorical sciences. Wahlsten is aware the object of study is not an obvious one within the field Rhetoric, but argues for the need of studies of games and Virtual Reality, and the importance of them for Rhetorical sciences in the future. Procedural Rhetoric Rhetoric Video Games Narrative Analysis Tomb Raider Lara Croft Ludology Characterization Ludonarrative Dissonance PC Games Female Characters Processretorik retorik TV-spel narrativ analys Tomb Raider Lara Croft ludologi karaktärisering ludonarrativ dissonans datorspel kvinnliga karaktärer
6	Secondary World: The Limits of Ludonarrative Dannelly, David 01 January 2014 (has links) Secondary World: The Limits of Ludonarrative is a series of short narrative animations that are a theoretical treatise on the limitations of western storytelling in video games. The series covers specific topics relating to film theory, game design and art theory: specifically those associated with Gilles Deleuze, Jean Baudrillard, Jay Bolter, Richard Grusin and Andy Clark. The use of imagery, editing and presentation is intended to physically represent an extension of myself and my thinking process and which are united through the common thread of my personal feelings, thoughts and experiences in the digital age. Ludonarrative ludonarrative dissonance secondary world virtuality actual virtual hyperreality the real game design gilles deleuze simulation storytelling video game narrative ludology mind extension hypothesis virtual reality immediacy transparent immediacy jay bolter tolkien film theory art theory game studies andy clark appropriation associative thought animation thesis video art 2-d animation video games thinking process video installation video game art sign signifier signified the matrix nasa the last of us lucas pope papers please the stanley parable yahtzee croshaw zero punctuation persistence of vision immersion Film and Media Studies Game Design

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