Emma's Games and Storytelling public lecture

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  • Games and Storytelling

    Emma Westecott, IFSW & University of Wales, Newport

  • Play as PerformanceThis lecture will interleave a retrospective of my work over the past 10 years in commercial games, web and research projects with my current thinking on games as a performance media. I will develop a narrative of my work to communicate an ongoing interest in playfulness in the creation of digital experience.

    A key dynamic of the field of game studies in our post-modern climate is the active involvement of the player in the ongoing evolution of form; the player collides with the game system to create the media experience.

    This performance blurs the boundaries between producer and consumer in that the player simultaneously takes on both roles within the game. As a player I am both producing my experience in the ways in which I express my skill within a particular game play moment whilst simultaneously consuming the results of my actions.

  • 1998 to 2001 - Digital character

  • Starship Titanic, Simon & Schuster 19981998 to 2001 - Digital character

  • character (P)Pronunciation Key(krk-tr)

    The combination of qualities or features that distinguishes one person, group, or thing from another. See Synonyms at disposition.A distinguishing feature or attribute, as of an individual, group, or category. See Synonyms at quality.Moral or ethical strength.A description of a person's attributes, traits, or abilities.Public estimation of someone; reputation: personal attacks that damaged her character. Status or role; capacity: in his character as the father. A notable or well-known person; a personage.A person, especially one who is peculiar or eccentric: a shady character; catcalls from some character in the back row. A person portrayed in an artistic piece, such as a drama or novel.Characterization in fiction or drama: a script that is weak in plot but strong in character. 1998 to 2001 - Digital character

  • Starship Titanic, Simon & Schuster 19981998 to 2001 - Digital character

  • Starship Titanic, Simon & Schuster 19981998 to 2001 - Digital character

  • Hitchhikers Guide to The Galaxy Website Launch 19991998 to 2001 - Digital character

  • Hitchhikers Guide to The Galaxy Website Launch 19991998 to 2001 - Digital character

  • History

    Long line of academic study arising from the notion of artificial intelligence. This has turned out to be a hard problem. Field has moved on to look into mechanics to simulate artificial life and emotion.1998 to 2001 - Digital character

  • ApproachesSystematicBy this I mean the academic field that looks to programme believable behaviour.NarratologicalBy this I mean the creative industry representation of character within the context of a given story context.ExpressiveVirtual experiences themselves have 'character', this more ethereal category refers to the expression of character outside a specific entity1998 to 2001 - Digital character

  • Key to emotional attachmentIt is about adopting a multi-faceted approachRichness of characterisation engenders emotional connection with game charactersMultiple media eg visual, aural, physicalHolistic experience

    Digital character - Design criteria

  • Key to emotional attachmentBruce Blumbergs (Synthetic Characters Group, MIT Media Lab) work on anticipatory AI :Low level expressive motion and behaviour used to create sense of inner lifeRevealing characters perceptionShowing expectationsSignal impending change

    Digital character - Research

  • The Zero-Game Studio - 2001 to 2004 The Zero-Game Studio of The Interactive Institute is an advanced applied research laboratory specialising in games, located within The Interactive Island cluster in Visby, Gotland, Sweden.

    The purpose of our project-led activity is to extend the nature, scope and reach of game form to a wider audience in innovative and creative ways.

    Our goal is to initiate and conduct novel and innovative research that explores and shares new visions of games and gameplay.The Zero-Game Studiohttp://zerogame.interactiveinstitute.se

  • The Zero-Game Studiohttp://zerogame.interactiveinstitute.se

  • The Zero-Game Studio - 2001 to 2004 Our vital statistics:

    Opened December 13th 2001Had 16 team members, including 2 studentsHad run 12 research projectsHad produced 5 academic papers and 1 masters thesesHad presented at:17 international conferencesAnd organised 7 specific eventsHad 15 worldwide partners, ranging from commercial companies, universities and research groupsThe Zero-Game Studiohttp://zerogame.interactiveinstitute.se

  • The Zero-Game Studio - 2001 to 2004 Applied Research Project ModelThe Zero-Game Studiohttp://zerogame.interactiveinstitute.seDEVELOPMENT

    INDUSTRY (Development)SoftwareToolsMethodologiesBusiness modelsPatentsSpinoffs/startups

    INDUSTRY (Entertainment)Published gamesGame festivalsBusiness modelsLicenses/franchised IPSpinoffs/startupsUser communityRESEARCH

    RESEARCHAcademic papersStudentsInvited lecturesConferencesPatentsResearch funding

    CULTURE/ARTExhibitionsGrantsInvitationsFollowers and acclaim

    GAMEPROJECT

  • The Zero-Game Studio - 2001 to 2004 The Zero-Game Studiohttp://zerogame.interactiveinstitute.se

    "one of the most accomplished and ambitious teams world-wide for the exploration of digital games as a art and entertainment form of mature expressive power.

    JANET MURRAY, Author of Hamlet on The Holodeck

  • 2003 to date

  • Synergy is a games research group investigating the space between game and art, based at the International Film School of Wales within the University of Wales, Newport.

    Synergy operates as an interdisciplinary collective; artists, practitioners, and theorists who celebrate the edges, and thereby the connections between our multifarious media form. Our members are united along a common desire to explore in-depth the artistic potential of contemporary digital game form.

    2004 to date - Synergy

  • Blank

  • THE BIG GAMETHE BIG GAMENON-GAMESOTHER PLAYERSTHE PERFORMANCE OF PLAYSITUATED PLAYERS

  • 2004 to date - SynergyMy research interestsThe celebration of digital games as an expressive art form, the art of the game is centred on the player and located in a kinesthetic poetry of performance. Emotionally dramatic gaming, taking the position that the player becomes a performer within the context of the game and looking at techniques for extending the range of emotions that the game experience inspire. The potential for practice-based research in the field of game studies to extend, enhance and celebrate game form in new and creative ways.

  • Different types of game charactersGame actors are distinct characters we can control e.g. Lara CroftAvatars are a shell of ourselves e.g. Second Life creationsIconic characters provide mask to add dimension to gameplay e.g. Super Monkey Ball, Loco RocoSusana Tosca In Proceedings of Level Up. Digital Games Researchers Association Conference, Utrecht, The Netherlands. November 2003

    Digital character - Research

  • Digital character - Industry

  • Loco RocoUse of cute aesthetic globalises appeal Cute creates empathy e.g. abstraction makes it easier to project emotions onto an object, so simplicity enables player identificationDigital character - Industry

    The problem of stating games as art

    The dance between technology and the arts spawn a multitude of new forms e.g. locative experiences, convergent media

    The problem of stating games as artThe problem of stating games as artThe problem of stating games as artThe problem of stating games as art

    The dance between technology and the arts spawn a multitude of new forms e.g. locative experiences, convergent media

    The dance between technology and the arts spawn a multitude of new forms e.g. locative experiences, convergent media

    The dance between technology and the arts spawn a multitude of new forms e.g. locative experiences, convergent media

    The dance between technology and the arts spawn a multitude of new forms e.g. locative experiences, convergent media

    The dance between technology and the arts spawn a multitude of new forms e.g. locative experiences, convergent media

    The dance between technology and the arts spawn a multitude of new forms e.g. locative experiences, convergent media

    The dance between technology and the arts spawn a multitude of new forms e.g. locative experiences, convergent media

    The dance between technology and the arts spawn a multitude of new forms e.g. locative experiences, convergent media

    The dance between technology and the arts spawn a multitude of new forms e.g. locative experiences, convergent media

    The dance between technology and the arts spawn a multitude of new forms e.g. locative experiences, convergent media

    The dance between technology and the arts spawn a multitude of new forms e.g. locative experiences, convergent media