Global ETD Search

1	Occlusion: Creating Disorientation, Fugue, and Apophenia in an Art Game Williams, Klew 27 April 2017 (has links) 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 ÃƒÂ Deux: 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 dÃƒÂ©collage, 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. narrative internet art genart art.net psychedelia art game walking simulator apophenia surrealism decollage fractal art glitch art folie a deux materiality collage
2	Simul-marcheur : configurer le jeu vidéo différemment Turcotte-Talbot, Michaël 05 1900 (has links) Cette recherche utilise la création d’un nouveau genre de jeux vidéo hyper-narratifs, les walking simulators, comme prétexte pour revisiter des théories liées à la narratologie et aux études du jeu vidéo de prime abord inadaptées à cette nouvelle manifestation vidéoludique. Les points de discordances sont soulevés pour enrichir le bagage théorique du champ des études du jeu vidéo en essayant de créer un compromis et une ouverture aux œuvres vidéoludiques dont la jouabilité est moins primordiale à l’expérience de la joueuse. En prenant comme point de départ la définition du jeu vidéo classique de Jesper Juul et la proposition d’une nouvelle configuration médiatique, dans le sens entendu par Philippe Marion, ce mémoire tente par la suite de mieux définir cette nouvelle configuration en analysant étroitement la relation qu’entretiennent la jouabilité, le récit et la joueuse. / This research uses the creation of a new genre of hyper-narrative video games, the walking simulator, as a pretext to revisit theories related to narratology and video games studies that are at first glance unsuited to this new type of video game manifestation. Points of discordance are raised to enrich the theoretical background of the field of video game studies by trying to create a compromise and an opening to video games whose gameplay is less essential to the player's experience. Taking as a starting point Jesper Juul's definition of the classic video game and the proposal of a new media configuration, in the sense understood by Philippe Marion, this dissertation then attempts to better define this new configuration by closely analysing the relationship between playability, narrative and the player. narratologie jouabilité jeux vidéo récit cognitivisme genre walking simulator narratology gameplay video games storytelling cognitivism
3	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

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