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7/5/2019

Literary Review

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The Influence of External Fictional Entities on Video Game Development and Value

Recently finished the latest draft of my literature review for my Masters of Creative Industries. Check it out :)
literary_review_-_peter_carey.pdf
File Size: 171 kb
File Type: pdf
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27/3/2019

Saving Data in Unity - A Short Explanation

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1. JSON.
This is a way of storing data in what is essentially a single string. Unity has some inbuilt tools for using it, or you can get external ones. Its made up of a list of key:value pairs. So, a player might be:

{
"name":"Player1",
"level": 0,
"faction": "elves,
"awesome": true
}

This system is very good for online data storage, because you can just use REST GET/POST methods to transfer it to and from a server. Parse it on your end, you all g. There are a ton of tutorials on this

2. PlayerPrefs
This saves the data to the computers registry under the game name. I think you can do floats, ints and strings (so if you need a bool, just use a 0/1 int). Its fairly fast, but only local, so keep that in mind. Its also pretty persistent. Because a lot of us dont actually use installers, even if you delete all trace of your game from your system, chances are that your save data is still sitting in the registry eating a sandwhich. 

3. Scriptable Objects
Imagine c# scripts you can make assets out of. Define your variables, create an instance, set variables on the instance, then reference like you would a prefab or texture! Again, only local storage, but very handy for inventory control / item databases. Again, so many tutorials available. Check #unitytips (Unity Official Discord) for some :)

4. Make your own save file. 
While C# is not as machine focused as C++, it is still an amazing versatile language with links to all sorts of windows systems. So, of course, you can create/delete/modify files. What is cool about this is that you can do this with a custom filetype. I use a .dracon file to store local authentication and save games. They can usually be opned with a text editor, like notepad++ (or just notepad if you're a heathen). I use Sublime Text because its light AF. There are a few tutorials around this, but make sure to look up C#, not unity, because most of the info is in the microsoft docs etc. 

5. Combinations of the above
Remember these are all individual techniques that can be used in conjunction. Save a json string to playerprefs. Add a network script to a scriptable object to populate it with data retrieved from a custom save file ... that you retrieved off a server ... that has json in it! 

Hope this helps. Feel free to ask questions :)

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8/3/2019

Week 4 - Instructional Writing - GIT

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Using GIT, GitHub, and GIT GUI

Git is a version control system released April 2005. It is one of the most commonly used tools for version control in software development worldwide. As a tool, it is incredibly useful for its ability to not only save your progress, but allow you to share your work, or backtrack to a previous point when you inevitable break everything.

As Git is such a versatile tool, it is thus extremely difficult to use. The cost of such flexibility and freedom, is that the user has the freedom to break things very quickly and easily. I hope this guide may delay that day.

Terminology
Terminal

The ‘terminal’ is the means by which we communicate with our git repository. It allows us to enter the appropriate commands by which we package, store and access our data.

Repository

The ‘repository’ is the space where we store our data. This is often on the servers of ‘GitHub’ or ‘BitBucket’, however if the need were to arise, you could have a local repository as well.

Working Tree

The working tree refers to the copy of the data that the user (you) stores on their device.

Branch

Git separates change history into branches. This allows for multiple stems of development to take place without affecting one another. Every repository, by default, has a ‘master’ branch. This is the branch that you are expected to use to contain the primary copy of your information. Other branches can be created, merged and deleted as needed.

It is important to know that branches are located both on your device and in the repository, and do not necessarily have to mimic each other. When I pull the information from the repository, I can set Git to update a certain number of branches with data from different repository branches.

E.g. local branch ‘Feature X’ can retrieve data from repository branch ‘Master’, while local branch ‘master’ retrieves data from repository branch ‘Feature X’. This can get quite confusing, and I high recommend for you to … not do that.

Merge

To ‘merge’ branches together is to combine their change histories into a single timeline. Were both of these branches to have affected different files at different times, this merge would simply just happen, however it is often the case that two branches will have changes to a single file. ‘Feature X’ set a variable to 1, while ‘Feature Y’ set it to 0. This requires the user (you) to go through file by file (sometimes line by line) and choose which version you want. The result is ideally a working final branch (say ‘Feature Z’, or ‘Feature XY’ depending on your naming conventions), however it is far more likely that you accidently delete the best parts of both merging branches.

Merges are hell.

Push

To ‘push’ data to the server means that we are saving our changes to our data, and uploading it. See ‘commit’ for what is actually sent.

Pull

To ‘pull’ data means to retrieve the latest changes from the server. This represents its own dangers which I will go into momentarily.

Commit

A ‘commit’ is a packaged set of changes and data. If the user (you) has added data to the repository, it will contain a copy of this to add to the server’s data, and if any files have simply been changed or removed, the commit will contain a detailed record of the ‘diff’ of these files. It is these records which allow for us to recall ourselves to an earlier point.

Staged / Not Staged

We don’t add files to a commit directly. We mark all the files we want to package as ‘staged’. Git will stop tracking their changes until we do something with them like committing them, or unstaging them. This allows us to snapshot them at the time of staging. Then, we create a single commit out of all of our staged files.

Diff

A ‘diff’ is a function, or algorithm, that analyses two files and outputs the differences between them. This is most often performed between the server and the working tree.

For example:
File X on the server contains 3 variables,
X = 0;
Y = 1;
Z = 2;

File X in the working tree has the same 3 variables, but they are,
X = 0;
Y = 1;
Z = 512;

The ‘diff’ for these files will output
//Z = 2;
Z = 512

The two slashes (//) mean that this option has been discarded, or overwritten. This would occur in this case when the working tree is given priority (say we were pushing our changes to the server).

Cloning

This is the process of initially getting the data from the repository to bring it onto your machine for the first time. Used in setup.

Processes

When we use git, it is best to follow a strict series of procedures to minimise the risks of losing data, or overwriting a team members work.

Setting up your repository 
When setting up a repository, there are certains concepts to take to make your life easier. They may seem trivial, but they can make all the difference in the world; trust me.
  1. Use correct naming conventions.
    1. Name things descriptively. We don’t care if the filename is long, we want to know what it does, and we want it to be unique.
    2. If its unique, we can find it easier, and if we can find it easier with can process it easier.
  2. Use proper organisation methods
    1. Don’t store everything at the root of your repository.
      1. Please.
    2. By setting up hierarchies of organisational folders, you allow for your work to be managed quicker and more accurately.
      1. This is because when we ‘push’, we can push entire folders at a time.
      2. So if you have a folder specifically for your feature, you can just track that folder, instead of having to mess with the rest of your project as well
  3. Set up your .gitignore and .gitconfig and README properly
    1. I will introduce you to these files shortly, but just keep this in mind.
 
The first steps of setting up a repository is to create one. This may be done locally, but for the purposes of this instruction, we will be using GitHub (its far easier).

GitHub is a company that allows free storage of all your work. ALL OF IT. Their only condition is that individual files don’t exceed 100MB, and that doesn’t happen very often. If it did, you could use the Git Large File System, (or Git LFS), but that costs money.

STEP 1.
Go to your web browser. Chrome or Firefox is best. Don’t use Internet Explorer.
STEP 2.
Navigate to https://github.com/ .
STEP 3.
If you have an account, sign in. If not, make an account. The ‘Sign In’ and ‘Sign Up’ buttons are in the top right corner
STEP 4.
Once you have made your account (I’m leaving that part with you), you will be on your dashboard. To the left, there is a panel for all your existing repositories. To the right there is a ‘discovery panel’ to find other peoples cool work. In the bottom middle, we have news about people you can follow (GitHub is a programmers FaceBook.)
Where you want to focus is the upper centre, on the “start a project” button. Click it.
STEP 5.
Name it. Name it WELL. You can’t have spaces, but you can use dashes.
Good example:
Name-of-my-project
Bad example:
RanDomSetofWordsandcApitalisation
STEP 6.
Describe it. You don’t have to. I don’t. Feel free to skip if you want.
STEP 7.
Public or Private. A ‘public’ repository is one that can be seen by everyone. Like a photo on Instagram. This is useful for opensource projects (projects that a lot of random people collaborate on), and it is the bread and butter of how GitHub was founded.
You can download the code from Microsoft Calendar from GitHub, open source is amazing.
A ‘private’ repository is one that only you, and people you invite, can see and change. This is good if you are shy, private, under NDA or just shady. I use it a lot for my personal work, and work I do for contracts.
Choose one!
STEP 8.
Add a .gitignore.
Projects come with a lot of files. I use Unity3D a lot, and for every file, unity generates a .meta files. That isn’t to mention the thousands of library files which are consistently regenerated and have negligible effect on the project.
So, sometimes we just want to ignore a file or two. Or a thousand. Your .gitignore will decide this. There are tons to choose from, depending on what you are working on. I use the Unity gitignore, which ignore library files, and all root files that aren’t /Assets/.
Please note, you can just leave this empty! This will still generate a .gitignore file for your repository, and you can always add to it later.
STEP 9.
Add a license.
This harkens back to the whole ‘open source’ side of GitHub. All of the licenses available to choose mean that you are consenting for others to take your work. If you choose not to assign a license, then copyright law comes into play and no-one can use it. GitHub seems to treat this as being nasty, but I very rarely make my work opensource.
STEP 10.
Click Create. Yay!
 
Cloning Your Repository 
When it comes to actually getting access to your data there is two levels.
  1. Low level. Easy, but when something goes wrong you wont get much information. And when something goes right, you wont get much information
  2. High level. Harder, but verbose. You will get reports on exactly what happened, both successes and failures, which gives you a lot more confidence when interacting with your repo.

You can probably tell the I favour High level.

I used Low for many years, and they are characterised by:
“Did it finish? I can't tell. God I hope I didn’t delete that. I suppose I will just keep going and hope for the best?”.

This is opposed to High Level, which is characterised by:
“Ahh bugger it broke. Oh, I just forgot a comma. God this takes a long time, good thing I actually have a loading bar to see where its at. Cool done, I can now comfortably move onto continuing my work. “
 
Cloning to Low Level 
If you just ignored my amazing recommendation, then Low Level it is. To interact with Git without having to use actual commands, or a terminal, we can use a Git GUI, or ‘Graphical User Interface’. In laymans terms; they made a program for it.

Its pretty.

You have a few to choose from.

GitHub Desktop has a lot of useful hookins with the main GitHub servers, but it doesn’t handle large batches of files well. I once had 30,000 changes. I had to use the terminal.

You can also use Sourcetree. Sourcetree was developed by Atlassian, who also developed BitBucket; another Git provider.

Of the two choices, I prefer Sourcetree as it has a bit more freedom and feedback. It also has quite good support and documentation.

For the purposes of this tutorial, we will be using GitHub Desktop as it’s a bit faster initially. You can look up many tutorials for Sourcetree online if that’s your go.

STEP 1.
Go to your web browser, navigate to https://desktop.github.com/.
STEP 2.
Download it. It should be available for Windows, Mac AND Linux, so I don’t see where you’re gonna get stuck here. Once the download finishes, install it as you would any other program.
STEP 3.
Navigate back to your GitHub dashboard (which I hope is still open in another tab). If its not, just log into GitHub online and navigate to it through the left hand repository panel.
Once you are at your repository, you will see one of two things:
A “quick setup” heading, with a ‘Set up in Desktop’ button. Click it.
A repository page with ‘Clone or Download’ in green in the top left. Click it, then select  ‘Open in Desktop’
STEP 4.
Once the program opens (you may need to give it permissions in browser, don’t worry it’ll ask you), you will see a ‘Clone a Repository’ box.
In this we see two input boxes. The first has the path to your repository on the GitHub server.
The second has the location on your computer where you want to store your project. I recommend changing this, the default is always awful.
Once you have done so, click “Clone”.
It is worth noting that if you knew the URL of the repository, you could simply copy and paste it into this box without having to use the browser to open GitHub desktop.
STEP 5.
Good job! Follow on if you want to see how to interact with the repository from here.
 
Cloning to High Level 
I feel that I should say that ‘Low level’ and ‘High level’ are not terms widely used through Git. I use them because they are commonly used in game development to refer to Low and High level API (LLAPI and HLAPI).

If you are talking to a Git tech and say Low level he will look at you funnily.

That being said, I’m going to keep using them.

Cloning, and interacting with, a repository in High level means we will be using the terminal almost exclusively.
Because we are not using a GUI, this means we don’t actually have git on our computers yet! Lets remedy that.

STEP 1.
In your web browser, navigate to https://git-scm.com/download/win. Then, download the appropriate installer (it may start an auto download, if so, lucky you!).
STEP 2.
Once you have that, run the .exe you just downloaded.
As you go through the install, you will reach a ‘components’ page. You want to select
  1. Windows Explorer Integration
    1. Including Git Bash Here, and
    2. Git GUI Here
  2. Git LFS (previously mentioned for files > 100MB in size
  3. Associate .git config files
  4. Associate .sh files
STEP 3.
Choose your text editor. Vim is the default. Don’t get Vim. What ever you do, DO NOT GET VIM. If you are reading this instructional paper, that means you are somewhat inexperienced. Vim will devour you whole. I know what I’m doing and Vim will devour me whole. I don’t even know how to close it for gods sake.
I recommend Notepad++, as it’s a highly intuitive and malleable text editor that can be used for more than 20 different programming languages.
STEP 4.
Adjusting the PATH environment.
The PATH (caps intentional), is a variable in the registry of your computer that is a list of folders. These folders are registered with the terminal, and if the folder is in your PATH, that means that you can run commands from them without having to be in them. For example, it means we can type ‘git’ in command prompt, and instead of saying ‘git doesn’t exist’ , it will try and run a git command.
The danger (theres always a danger), is that if you link too many folders to PATH, you may end up with conflicting commands. It hasn’t happened to me yet, so be sure to let me know what happens, that sounds interesting.
Coming back, I recommend selection ‘git from the command line’. This will allow you to use git natively on the computer, and wherever you want.
STEP 5.
Just click next for HTTPS backend, we aren’t using that.
As a brief explanation, SSL certificates are files filled with jumbled letters and numbers. Those letters and numbers are then run through an encrypter with a ‘key’ (password), so that they are even more jumbled. This allows us to give our jumbled jumble to the repository. Then, when we want to interact with it, we have to send it our original jumble and the key, so it can see if we’re legit.
You can see why we aren’t using it. Lose the key, or lose the jumble, you are permanently locked out.
STEP 6.
Line-endings matter when you have to transfer files from a mac to a pc, to linux and back. They each format files differently. Select the first option, as it will give you the windows format when you need to access it, but convert it to a basic/universal format when you upload it.  
STEP 7.
Use MinTTY, default console is awful.
STEP 8.
  1. Yes. Performance = fast. Fast = happy
  2. Yes. Unless you want to sign in multiple times, every single time you run a command
  3. Yes. This allows Git to send files that pretend to be changes. Then when something asks for a change, it tells it to just check the original. Essentially, it cuts down on storage space and increases performance.
STEP 9.
Yay for install!
STEP 10.
We now have git. Now, we need to clone our repository. Click start (on your keyboard or computer), and type in ‘CMD’. Right click on command prompt when it appears and say ‘Run as Administrator’.
If you don’t run as admin, everything may go smoothly. However, it is my experience that it will break right as you go to do the most important push of the day. ‘You do not have correct system permissions for this command’.
STEP 11.
In CMD, type ‘git --version’ (make sure its 2 dashes). If you installed git correctly, you should now get an output of:
‘git version x.xx.x.windows.x’. Mine is ‘git version 2.21.0.windows.1’, but depending on when you do this tutorial that will change.
STEP 12.
Once we have confirmed we are installed, we need to navigate to the folder we want to store our repository in. So, in your file explorer, create the file, and note the path. E.g, “C:/Users/Peter/Documents/MyRepository/”
 Then, type this into CMD (replace my path with yours):
cd C:/Users/Peter/Documents/MyRepository/”
cd is a command to relocate the focus of CMD to the file you entered. This means we wont have to keep typing it in.
 
STEP 13.
If you navigate back to your repository page in the web browser, you will see a set of instructions to do so. I will paste here for convenience:
echo “# ProjectName” >> README.md
git init
git add README.md
git commit -m “first commit”
git remote add origin https://github.com/[YourUserName]/[YourProjectname].git
git push -u origin master
I am going to explain what we are doing here.
  1. Create a file named “README.md”, with a first line of “# ProjectName”
    1. .md is a ‘markdown’ file, a type of text editing that allows for heavy customisation. I am pretty sure (not 100%) that the # means ‘header’. So big and bold.
    2. ‘echo’ means to report back, or to be verbose in what is going on.
    3. >> means to put the thing on the left in the file on the right.
  2. Initialize our repository
    1. Create a repository file in the folder where the cmd is based right now.
    2. Do git magic to make things work
  3. Add the readme file to our ‘staged files’, or ‘files ready to be packaged in a commit’.
  4. Create a commit, with the title (or ‘message’, hence the -m) of “first commit”
    1. Remember, we mark all our files we want to upload by staging them.
    2. Then we package them in a commit.
    3. While this commit only has one file in it, its still a package
  5. Tell our repository that it should be sending files to the server located at this URL.
    1. ‘remote add’. We are adding a server (remote) to the list of locations
    2. Origin. Technically you could have multiple destination servers. We are going with the main one.
    3. URL. You will see this on your repository webpage
  6. Upload our commits to the server we called origin, to the default ‘master’ branch.
STEP 14.
Step 13 was heavy. Take a breather.
STEP 15.
You have now cloned a repository. Hooray!
STEP 16.
But what if you already had a repository that was initialised and on the server, and just wanted to download it? Say, you friend was using it, and you wanted to get in on it?
Step 1-12 still apply, but instead of step 13, you should instead run:
git clone https://github.com/[OwnersUserName] /[Repositoryname]
 
So, you find the server, and git handles the rest. Beware, the repository will be downloaded into whatever folder the CMD is currently focused on. Use ‘cd’ to move to somewhere else if needed.
 
Using Your Repository – Basic (Low Level)Basic mechanics is how I refer to:
  1. Adding a file to a repository
  2. Changing a file in a repository
  3. Getting file changes from the repository.
So, how to do this using GitHub Desktop?

STEP 1.
Have GitHub Desktop (henceforth referred to as ‘the GUI’) open, focused on your repository.
STEP 2.
Open file explorer, and navigate to your repositories folder. If there are no files or changes to your repository, there may be a link to this in the GUI.
STEP 3.
Right click in the root (top level folder) of your repository. Click New -> Text Document.
Name it. Im calling mine ‘Fergalicious.txt’.
STEP 4.
Open your text file, and make a change. Mine reads:
‘definition: make them boys go loco’.
STEP 5.
Save text file.
Congratulations, you did a thing!
Of course, were this your actual work, it wouldn’t have to be a text file. GitHub supports literally all files, including pictures (.png, .svg, .jpg), audio (.ogg, .wav, .mp3), videos (.wmv, .mp4) and even custom file formats (I use .dracon files to store player save games).
STEP 6.
Now we want to upload it. Open the GUI back up.
A number have things will have changed. That number is 3.
  1. You will see your file over in the left hand panel.
  2. The ‘Changes’ tab will now have a number on it
  3. The middle panel will have a detailed list of the line by line changes you made to the file.
    1. The + means added, as does the green highlight.
STEP 7.
The left hand panel is a congregation of both stages and unstaged files in the working tree. They have all had changed made to them, but usually you want to cherry pick what changes you are uploading.
You do this by ticking the checkbox next to the file to upload. Make sure your file is checked.
STEP 8.
Down the bottom, next to your little profile pic, put a name for your commit. Mine is called ‘Create Fergie text’.
Write a description if you are so inclined.
A warning; you will never be so inclined. Not after you have done this 500,000 times. But when you get to a professional level with this, your relationship with the people around you will hinge on how good your descriptions are. Make it quick, sharp and relevant.
‘I added a text file to store lyrics from the greatest song ever made’.
Finally, click ‘Commit to master’.
STEP 9.
Many people make the mistake of thinking that you just uploaded your work to the server.
You didn’t.
What you just did is get your work ready to make its trip. You packaged it up, got a stamp, put your name on it, and now its waiting on the bench.
Up the top, you will see a button called “publish branch”. This is somewhat anomalous as this is the only time that will ever say that. Once you make the first change, your branch is ‘published’ and it will change.
Click it.
STEP 10.
After some steps, feel proud. You have uploaded your work to the server. Fergie will live forever.
STEP 11.
Some notes. That publish button? It will now say one of 3 things;
  1. Pull. It will say this if there are changes on the server that you aren’t up to date with. It uses your commit timestamps to figure out where you at
  2. Fetch. This will get it to manually ask the server to see if there are any changes. Generally it has an ~5 minute poll rate, so you only ever use this if your mate is right next to you and you’re impatient.
  3. Push. You will see this when you have made a commit, and are ready to upload it.

Using Your Repository – Basic (High Level)Basic mechanics is how I refer to:
  1. Adding a file to a repository
  2. Changing a file in a repository
  3. Getting file changes from the repository.

As these are the High level instructions, we will be using the command prompt to do so, and I will assume you have installed git and already initialised your repository (see ‘Cloning to High Level’)

STEP 1.
First things first, lets upload some work. Open the file explorer, and navigate to your project folder.
STEP 2.
Right click, and select New -> Text Document.
Name it. Im naming mine – “WeAreTheChampions”
STEP 3.
Open said document, and write something in it. E.g.
“My frieeeeendsssss”
Save document.
STEP 4.
Open your CMD back up.
Make your it is focused on the project folder
              cd C:/Users/MyUsername/Documents/MyProjectPath
STEP 5.
We need to stage it the file to ready it for packaging.
We can do this 2 ways;
  1. git add -A
  2. git add “WeAreTheChampions.txt”

The difference between these is that the first will stage literally every single file in your project, whilst the second will stage only that file.

A noteworthy note is that GIT supports ‘wildcards’. These are expressions within windows for describing paths. They allow us to add a ‘*’, which translates to … anything.

So, if you say,

git add *.png

It will add every single png file to the staged area.
If you said,

              git add /MySubFolder/*

It would add every single file in that sub folder. Although, GIT also just supports standalone filename there, so there star becomes unnecessary.
 
Also note, git add is not verbose, so if there are no errors, you did good. If you get antsy, just add a ‘-v’ to your command, and it will tell it to let you know whats going on.

E.g         ­git add -A -v

STEP 6.
Once you have added the file, we need to commit it.

We can do this by typing,

git commit -a -m “my message”

This tells GIT to package all ‘staged’ files into a commit (-a means all). Then, we label the commit with a message (-m for message, whatever is in the parentheses after that is the message).

If we wanted a bit more control, we could run this without the message,

git commit -a

This would open our text editor (notepad++), where we would type our message. Once we save and exit, git would detect the change and use that as the message.

STEP 7.
Time to upload.

git push –progress – all

*That’s two dashes before progress and all (curse you MSWord formatting!) General rule is that if its a letter (-m -a -w -r -v), use one dash, if its a word (--verbose, --all, --progress), use two.

This tells git to get all our commits, and send them to the server. I am including the –progress as it will create a bar to let you know how long is left. That doesn’t matter much now, but big pushes take big times.

STEP 8.
You did it!
Look at you go, you hacker, you!
STEP 9.
Let’s say you let your mate have access to the repository, and he uploads a file.
To retrieve his changes, you need to do two things.
STEP 10.
First, check the status. No use trying to download a non-existent file. To see the current state of things in the console, type in
git status
You can add the –column tag to that (2 dashes), if you want the results to be formatted a bit neater.
STEP 11.
You can now see your friends file (If you cant, keep pulling, or he mucked up. One or the other).
You can grab it by using

git pull

This will grab all the server stuff and bring it on down to you.

You can test this locally by deleting the text file we made before. As long as we don’t push its deletion, the server will see a difference between us and it, and offer us the file back (yep, if God exists, this is his final form right here).

So, read the next step to get it back
STEP 12.
If you make a change to a file, and want to undo it (adding a line, deleting it, renaming it, etc), you can do this by “checking out” the file from the server. This is more like supermarket check out, not creepy old man checking out your mum.

Let’s say I did ‘git status’, and I get output of,

deleted: WeAreTheChampions.txt

Well that’s not good enough. Lets get that back. Type in

Git checkout WeAreTheChampions.txt

(although you should use your file name, it works better that way).

Check your folder, and its there!

STEP 13.
Profit? Beer? Pride in yourself as a continuously growing individual who has gone out of their way to find and learn a new skill which benefits not only themselves, but potentially everyone in their professional sphere of influence?
 
Beer it is!
 
 

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8/2/2019

CIM408 - Week One - Response

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Like many things worth doing, writing is an endeavour. It seems that whilst words can flow through the keyboard, concepts and ideas get lost upon their way to the paper. I was reading continually as a child, and as I developed, I focused on my ‘voice’ as a writer. It seems that now I am older, I have a voice, but no meaning.

Narratives often seem vague and unoriginal, essays meander through endless paragraphs saying almost nothing. “Concise” is a term imagined in a dream, where people speak simply and accurately. I ask myself, “Why can I write writhing rings of reckless rambles but not simply state my case?”.

In short: I have trouble writing concisely.

And yet I enjoy the flourishes of my writing. It is akin to my game development, a tool to create and maintain a world hitherto unthought of.  It stream of consciousness that imparts my mind at the time of writing, filled with dreams of grandeur. And I know that when I look at this in a few days, I will find my writing alien, to even myself.

It is probably why I find essays to be such obstacles to my progression. I have been taught that there is no place for filigree in an essay. Say the truth, prove the truth, and move on to the next point. There is a place for the simplicity involved there, but I haven’t found it yet. I take my essays, I refine them and grind them. I snip pieces from every branch and cultivate it in the hopes that it will suffice. I often submit the literary equivalent of a gargantuan thorny rosebush.

And now I direct my attention toward these very words. A paradox of sorts, an examination of my own writing. So many questions to answer, and each answer sprouts more questions. In writing in this manner, I have chosen to relax, and let my writing flow in the most “me” way that I can. Is this a mistake? Should I have attempted to refine an area that I find difficult? I suppose I will find out.

I am not that good at relaxing…

Let us answer a question then. “Do you write with an audience in mind?”. I do, but not the actual audience. Whilst I do have the knowledge that this will be read by my peers and lecturer in my mind, I write for an imaginary audience. The perfect audience that no author ever had. They sit, and read, and absorb that which I put forth with little judgement passing that upon my grammar, or a particularly dense phrase. Simultaneously, I write for an empty auditorium. As a reader that visualises scenes more than studying the individual words, I tend towards the same when writing. Thus, I hear my own voice, albeit, a more resonant and timbred sound than ever left my mouth. It echoes within the chambers of my consciousness, and maybe this is why I tend towards grandeur, toward writing patterns that reek of pomposity and conceit. When they are rendered in that tone, they sound even, measured and fair. It is this sound that I strive to impart.

Do I write with an audience in mind? Yes. I write for the audience that is my mind.

Thus, I write of forests made luscious with life. Of canyons that reek of heat, with dry and dusty wind. I speak of the floating isles, in the sky or in the sea. And I visualise them, and I write for my own audience. Because I know of no way to ever convey this to my reader, save that the reader is myself.

Would that I could describe a mans face with a sufficient amount of metaphorical statements, that you could visualise him. Stocky and lean, a soldier worn by years. His stubble peeks through skin made dark by crackling mud. Wild hair made tame by a leather band, like the wild man made tame by a leather will.

In is my earnest desire that you see him. His face, his stance. Desperately unyielding, in the way of one that knows that he only has so many years before his defiance is taken from him, before he is made a mockery of health. The tender balance between cherishing your remaining years, and dreading those to come. Yet he stands, proud, made strong by the years that have already passed.
 
What is my writing.
My writing is the creation of worlds.
My writing is the connection of shared ideals.
My writing is the futility of an outstretched hand that does not know how to grasp.
 

Peter Carey


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8/2/2019

CIM408 - Week One - Task

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This first week is "Writing about Writing". The task instructions are as follows:

Write about how you write. Is writing easy or difficult? Why do you like/ hate it? Do you design a structure first or is it emergent? Do sentences arrive fully formed or do you shape them in subsequent edits? What subjects do you enjoy writing about, what subjects are a guaranteed writer's block? Do you write with an audience in mind? Writing is a kind of enquiry (Armstrong & Wilson, 2014) in which topics can be explored, uncovered, and arguments and ideas developed. As you write and rework your writing to better express your ideas, notice if your ideas about writing change or evolve.
Carroll, J. A. & Wilson, E. E. (2014). The critical writer: Inquiry and the writing process. Santa Barbara, California: Libraries Unlimited.

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8/2/2019

CIM408 - "Research and Writing"

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Hello again!

We arrive at the beginning of a new trimester, and a new unit. This tri, "Research and Writing".
As my reader, I feel that you will enjoy this, or at least benefit. Increased writing skills on my part can only make this process better!

In this unit, I will be looking at a variety of writing styles, including descriptive, instructive and referential. I will be doing 5 small "writing assignment" blogs, followed by a big boy mega blog.

For this unit, I am changing up my style a bit. This is influenced by a few factors:
  1. My lecturer is not marking my actual blog. I will be posting the work both to here, and to the actual submission area. In the past, I have had the work posted here marked, but not this trimester!
  2. Each of my writing assignments is a response to a set of parameters, and prompts. However, they will not be written to immediately follow said instructions. I feel that seeing the task at the top of the page will set a mood for each piece, and I would prefer the works be viewed in isolation.
Thus, with this new tri, I will be posting 2 blogs per week. The first will contain the task, the second; my response to it.

I will label them both clearly, so that if you don't really care about the task, or my response, you can navigate quickly to that which you actually mean to view.

Week 1 will be posted momentarily, enjoy!

Peter Carey

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21/1/2019

CIM402 Week 6 Part B

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How is Orphan Black a simulacrum?

The term “simulacrum” may be defined as “something that looks like or represents something else” (Cambridge, 2019). It is important to note, that the term simulacrum never pertains to an original, and that a simulacrum may not be connected to the original past the superficial. A simulacrum is its own individual concept or thing.

In this video by Idea Channel (PBS Studios, 2019), host Mike Rugnetta posits that the popular television show “Orphan Black” is a perfect representation of what a simulacrum is. The show exhibits six women who are cloned from the same DNA. Each has an entirely separate personality, and context, and are thus simulacra of the original. This idea is reinforced by the distance between the personalities shown from the simulacra. Each display vastly different levels of intelligence, practicality, ambition and empathy. They each represent the original, and yet provide their own individuality (a concept which is challenged as the show progresses).

However, this is not the only level of simulation present. It could be said, that as it derives from a number of creative practises and inspirations, the show itself is a simulacra of media tropes. The familial connection between clones, and the struggle against a faceless ‘corporation’ entity, as well as the central theme of freedom; to choose, and from sickness. Thus does this work emulate the original concept of these themes, and yet become its own self in the doing so.

In a necessary divergence, I also want to explore the simulation of an essence. For in the creative industries, we do not only look to a single work for our inspiration, but rather a succession of pieces, all with their own inspirations. As a game developer, I may create a work based upon the taming system present in Dark and Light (Snail, 2019). However, Dark and Light was inspired by the game ARK : Survival Evolved (Instinct Games, 2019). The taming of ARK was in turn inspired by Tamagotchi (Tamagotchi, 2019), and Pokemon (The Pokemon Company, 1996), as well as a myriad of other sources. Each of these games is its own item, with its own essence, however it simulates the essence and mechanics of its predecessors.

So too does Orphan Black, building upon works such as The Four Sided Triangle (Fisher, 1953), Doctor Who (Newman, 1963) and The Boys from Brazil (Schaffner, 1978), all notable works centred around the concept of cloning. Orphan Black establishes its own identity when its other contextual influences are considered, such as its Canadian setting, dark tone and mystery-thriller genre. Each works to shape this show using conventions drawn from mass media.

A question to ask is: are the themes and concepts that are passed from piece to piece evolving or diminishing with their travel? Does a simulacrum change in value compared to its original, and if so is this change in value consistent? Will a simulacrum always be better/worse than its predecessor.

To answer these, I look to focus upon Orphan Black, as to make sweeping generalisations will not further this discussion at all. Here we see an original being, with at least 11 clones. Each clone sharing an appearance, but not a personality. To answer the above questions in this regard, we have to look at how we value a human being. Do we place higher value upon Sarah, the con-artist? If so, we are valuing cunning, and practicality, and no small element of empathy. Or we may look at Helena, a clone driven to the edge of psychosis who only wishes to kill Sarah. We may value her strength and will to live, yet deride her bloodlust and lack of empathy.

To look at these simulacra in comparison to the “original being” of the show, we can make no sure measurement of change in value, therefore I posit that in determining its own individuality, a simulacrum becomes incomparable to its original, yet perhaps comparable to its fellow simulacra. This is comparable to a “favourite child” scenario. You do not compare the child to its parent, but to its fellow children.

 If you’re feeling mean that is.

Lastly, we may look at the clear definition Orphan Black makes between its clones, and their foci. As we look at the clones, we can see that they are clearly delineated into discrete social constructs. We have The Con (Sarah), The Cop (Beth), The Scientist (Rachel), The Mother (Alison), The Fighter (Helena) and The Techie (Mika). Each of these clones has been given the stereotypical context to allow them to flourish within these roles, something which is too defined to be coincidence. Thus proceeding with the assumption of authors intent, we can see how the creators of Orphan Black have explored the deviation of the original. In the words of Mike Rugnetta, “a simulacrum is still a representation or depiction of something, its relationship to its source is … weirded up” (PBS, 2019). In Orphan Black, I believe we see a group of creators seeing precisely how far, and weird, they can separate the child from the parent.
 
References
Dark and Light - Official Website. (2019). Retrieved from https://www.playdnl.com/

Dictionary, S. (2019). SIMULACRUM | meaning in the Cambridge English Dictionary. Retrieved from https://dictionary.cambridge.org/dictionary/english/simulacrum

Evolved, A. (2019). ARK: Survival Evolved on Steam. Retrieved from https://store.steampowered.com/app/346110/ARK_Survival_Evolved/

Franklin J. Schaffner. (1978). The Boys from Brazil [DVD].

Tamagotchi. (2019). Retrieved from http://www.bandai.com/tamagotchi/

PBS Studios. (2019). How is Orphan Black an illustration of a simulacrum? [Image]. Retrieved from https://www.youtube.com/watch?time_continue=86&v=Eg7Z_28Uk6g

Sydney Newman. (1963). Doctor Who [DVD].

Terence Fisher. (1953). The Four Sided Triangle [DVD].

WELCOME TO POKEMON.COM. (2019). Retrieved from https://www.pokemon.com/country_no_trans/au/
 
 

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21/1/2019

CIM402 Week 6 Part A

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Post Modernism and New Sincerity

The origins of the Postmodernist theory are hard to pin down, but its formative stages are largely influenced by Jean-Francois Lyotard, in his report “The Postmodern Condition”. (Lyotard & Bennington, 2010) Lyotard states in his report that postmodernism was “incredulity toward metanarratives”.

Metanarratives may be defined as “an overarching account or interpretation of events and circumstances that provides a pattern or structure for peoples beliefs and gives meaning to their experiences” ("metanarrative | Definition of metanarrative in English", 2019). Examples of metanarratives are ideas such that “by living sin-free lives we will ascend to heaven on our deaths”, or that “humanity is progressing evermore toward a utopian society, riding on the back of scientific progress”. Both of these examples provide frameworks to couch a person’s actions, and intent.

Thus, when we look at postmodernism, we see an increase is scepticism towards these ideas, and their representations, especially within the media. Over the last 20 years “postmodern irony and cynicism’s become an end in itself” (Burn & Wallace, n.d.). We can look at advertisements that mock the core nature of advertisement, such as the “#WannaSprite?” advertisement run by Sprite in 2012, featuring LeBron James. (Sprite, 2017) In this advertisement, LeBron continually refuses to recommend Sprite to the viewer, despite prompt cards and various other overtly suggestive situations. Instead, he states “I could … but I wont”. In this, Sprite uses irony to underline the metanarrative of “the famous figurehead recommends the product, so you should like it too”. Through this, the viewer is invited to deride the practise, and laugh at the idea, with the company. By removing themselves as the target of derision, Sprite instead creates a false alliance with the viewer, giving their words more weight.
Within the sphere of the game development industry, we see postmodernism represented in games such as The Stanley Parable (The Stanley Parable, 2013), Spec Ops : The Line (Spec Ops : The Line, 2012), and SUPERHOT (SUPERHOT, 2016).

The Stanley Parable is an excellent display of this, as it deeply explores and exposes the concept of choice within video games. By providing non-arbitrary choice, we afford the player freedom to express themselves within the virtual space. The Stanley Parable recognises this as a meta-narrative, and is a game composed of nothing but choice. The game hosts very simple rooms and level design, with the player being the author on where to go, led by a narrated voice. The player may choose to obey or disobey this voice. However, as the player progresses, they see that no matter how free their choice, they are always bound by the narrators will. A disobedience feels exhilarating, until the players choice is taken and used against them. The Stanley Parable uses irony and humour within its telling, yet its outcome is a form of nihilism, a juxtaposition toward our own lives; that no matter our choices, we all end up at the same point.

Spec Ops : The Line, and SUPERHOT approach the metanarrative of unquestioned violence within videogames. An example of this is the common “Hunt Rats” quest. In many fantasy RPG games, such as Tera (SUPERHOT, 2016), World of Warcraft (World of Warcraft, 2004) or Oblivion (Oblivion, 2006), the player is told “my house is infested with rats. Kill them all so my crops survive!” ("Rats!", 2019) ("Oblivion:A Rat Problem", 2018). At first glance, this is a reasonable solution, one employed in real life. So the player goes, kills the rats and returns. They are met with “wolves are attacking! Kill them!” ("Big Bad Wolves", 2019). And of course the player should kill the wolves, they are a threat. This approach scales, until “kill the goblins!” and “Steal from the rebels!” are met as purely reasonable quests with a high moral standing. The player is never asked “Lure the rats to a nearby thicket so they may build their own home”, or “Divert the wolves using slabs of meat!”, they accept violence as the first solution to the given problem.
SUPERHOT approaches this using the influence of a faceless authority figure. As we are put into the game, and told to kill we do, with the knowledge that it is just a game. However, as the story progresses we are exposed to themes of addiction and manipulation as the authority figure uses the player as a tool for his own ends. The player never finds out what these are, and the goal of the ‘game’ is to simply complete all the levels. A notable point in this is when the player is accused of being addicted to the killing, that they could not resist it. Then, the game closes. The player is now on the desktop of their computer faced with a choice. They could accept that the figure is correct, and reopen the game to progress, or they could simply stop, and do something else. SUPERHOT examines the metanarrative of meaningless violence in videogames, and condemns the lack of independent thought that has brought us to this state.

Supposedly around since the 1980’s, in 2002, David Foster Wallace resurfaced the idea of “post-postmodernism”, also known as “New Sincerity”. Based on Wallace’s theory that postmodernism is leading us into a negative spiral of irony, narcissism and solipsism, the New Sincerity ideal re-evaluates sincerities role in media production. It looks less negatively upon the metanarratives of mass media, instead using these as tools in bridging the gaps between humanity. Wallace states: “Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists.”

New Sincerity also denies the separation implied by postmodernism’s approach to media plurality. The term “plurality”, or “plurism”, “refers to diversity in the most general sense. In analyzing the concept of pluralism, two perspectives have to be mentioned in these things like internal and external pluralism.” ("media PLURALISM: definition", 2014). Each viewer is affected by their past, their experiences and their other contextual factors. This exists in both creators and consumers. Two creators cannot create exactly the same piece. They will both be informed by their context, leading to different creative styles.

Postmodern theory suggests that once an author publishes their work, it is no longer their own. Due to the difference in context between the creator and the consumer, the work will be interpreted apart from the authors ‘true vision’. This is often termed, “Death of the Author”, after Roland Barthes influential essay (Barthes, 1967). This suggests that a creators work can be interpreted vastly different to the original intent. A movie about romance can be read as betrayal, a book about friendship can be read as loss. In an interview about his highly reputed game “Braid”, Jonothan Blow comments on his players opinions of the game by saying “some people get that, and some people don't. But that's completely decorrelated from people's claimed positions in the sphere of commentary”. (Dahlen, 2008)

New Sincerity instead focuses on the shared facets of experience. Familial connection, responsibility and connection are notable examples of this. Thus, the creator is able to bridge the gap of different perspectives, and use these facets to convey the core aspects of their work.
 
References
Barthes, R. (1967). The Death of the Author.
 
Bethesda Softworks. (2006). Oblivion [Windows]. https://store.steampowered.com/app/900883/The_Elder_Scrolls_IV_Oblivion_Game_of_the_Year_Edition_Deluxe/.
 
Big Bad Wolves. (2019). Retrieved from https://www.wowhead.com/quest=47947/big-bad-wolves
 
Blizzard Entertainment. (2004). World of Warcraft [Windows]. https://worldofwarcraft.com/en-gb/.
 
Bluehole. (2011). TERA [Windows]. http://tera.enmasse.com/.
 
Burn, S., & Wallace, D. David Foster Wallace's Infinite jest.
 
Galactic Cafe. (2013). The Stanley Parable [Windows]. https://store.steampowered.com/app/221910/The_Stanley_Parable/.
 
Lyotard, J., & Bennington, G. (2010). The postmodern condition. Minneapolis, Minn: Univ. of Minnesota Press.
 
media PLURALISM: definition. (2014). Retrieved from https://fardaleakmal.wordpress.com/2014/12/04/media-pluralism-definition/
 
metanarrative | Definition of metanarrative in English. (2019). Retrieved from https://en.oxforddictionaries.com/definition/metanarrative
 
Oblivion:A Rat Problem. (2018). Retrieved from https://en.uesp.net/wiki/Oblivion:A_Rat_Problem
 
Rats!. (2019). Retrieved from https://www.wowhead.com/quest=40198/rats
 
Sprite. (2017). Sprite Commercial - LeBron James Wanna Sprite - Super Bowl Commercials 2017 [Video]. Retrieved from https://www.youtube.com/watch?v=UirBEXCQlIY
 
SUPERHOT Team. (2016). SUPERHOT [Windows]. https://store.steampowered.com/app/322500/SUPERHOT/.
 
YAGER, 2K Missing Link Games. (2012). Spec Ops : The Line [Windows]. https://store.steampowered.com/app/50300/Spec_Ops_The_Line/.

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21/11/2018

CIM402 Week 8-9 Blog Post Part B

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Part B! Looking at techniques game developers use to control the players experience within a game.
Enjoy :)

Blog Post Week 8-9 Post B
How Video Games Immerse a player
 
Since the days of Metroid and Mario, video games have been immersing players within new worlds. Some, such as Elex (Elex, 2018) and World of Warcraft (World of Warcraft, 2018), replaced reality, creating an entirely new universe for the player to experience. Others, such as Legendary (Legendary, 2018) and Call of Duty (Call of Duty, 2018) sought to build upon this universe that we already have.
An avid reader as a child, I had long been used to escaping reality when I first discovered gaming, in the form of Jak 3 (Jak 3, 2018) on PlayStation 2. However, here was a form of story I had never experienced; one that I could interact people. And it is this interaction that is at the heart of game immersion. This week, I am going to explore 3 facets of this interaction that I feel most contribute to gameplay immersion.
  1. Story
  2. Interaction Interface
  3. Mechanic Design
The first area is a huge one. I could spend pages upon pages talking about story, but I want to focus on how games give us story with choices.
Interactive, or branching, stories did not start with game development. Instead, there were a certain form of book called “choose your own adventure”. “If you want to head down into the dungeon, turn to page 385, if you want to head up to the turret, turn to 923”. While fairly clunky, these books were an amazing way to experience choice within a story-based context.
While one of the first interactive stories in gaming was almost certainly the first Fallout (Fallout, 2018) game, two of the most prominent examples are the Dragon Age (Electronic Arts, 2018), and the Mass Effect (Electronic Arts, 2018) series, notably developed by the same studio: BioWare. These games allowed the player to choose from multiple paths to develop the personality of their character, with the Mass Effect using the widely known “Paragon” system. The “Paragon” system was an attempt to condense morality into a single statistic, which is not a new feature. Good vs Evil. Right vs Wrong. Paragon vs Renegade. As the player made the appropriate choices, they would move their moral slider toward one side or the other. Whichever the choice, the player was rewarded and punished the most for committing the most. Pure paragon gave the player much less monetary reward, but more companion based skills, whilst renegades took the money. This was a single instance of meaningful choice in games!
Another element that these games excelled at was their development of supporting characters. Both Dragon Age and Mass Effect had broad choices of companions, roughly fifteen (15) for each game. Companions would react differently to your choices, and if you weren’t careful they would desert you altogether. The opposite was true, to a startling degree, giving BioWare games a somewhat raunchier reputation. Thus was the player surrounded by elements pulling them into the game. Befriending, outfitting and adventuring with a well written companion character is one of the most enjoyable gaming experiences, one promoting empathy and teamwork.
 
But what tools are we using to consume these games? From arcade machines and Pinball, to CRT monitors and Tetris (Tetris, 2018), to a 44” flat screen and Fallout 4 (Fallout 4, 2018). Each of these affected our experience. Racing games become ever more immersive once a steering controller is placed in front of the player, flight simulators become engaging with a full joystick, and Sing Star pretty much blew our minds with its controllers. This has taken a leap since 2016 with the introduction of VR into the public eye. Slowly becoming more prominent, Virtual Reality (VR) allows us to experience a total overlay of sight, hearing and the vestibular system (balance). At the most basic, these allow the player to “look” around inside a virtual world, but they also create new interaction methods such as Gaze and 3D gestures. Evolutions of this technology such as the Windows Mixed Reality ("Windows Mixed Reality headsets", 2018) headset, and the Vive Focus ("VIVE Focus", 2018), allow for “inside out tracking”, which allows for essentially limitless tracking. Run onto a football field and your play space is now 50 meters wide … minimum. This introduction of interaction mechanisms allows for new avenues of choice and experience. Experiences within VR seem to connect to some area of the brain previously untapped, with some experiences being reported as “too immersive”. People scream as they believe they fall off cliffs, they fall over when being hit with a virtual object, and they vomit when seated in a virtual rollercoaster. Admittedly, the latter is more due to a disconnect between the ocular and vestibular systems, but it’s still amazing!
And finally, I want to look at the mechanic design that goes into immersing a player in a game world.
The Monomyth, or the “Heroes Journey”, is a story analysis tool that fits many of the tales constructed today. The hero has a call to adventure, which they might not understand or accept. A crisis forces them to take the role of a reluctant saviour, and with the help of a teacher/mentor, they venture forth to find/fix/do the thing. Along the way they fall into a physical/emotion/moral pit which forces them to adapt and transform. They emerge from this pit a new person, and go on to defeat/solve the bad thing, and return home, where they reflect on their personal change. As you can see, it’s a pretty vague outline, so it fits a lot of stories. But one thing is certain, and that it focuses on the trials and evolution of the protagonist.

Picture
In video games, the player is the protagonist. Therefore, the growth and trials are those of the player. Instead of reading about Odysseus and Polyphemus, the player can instead fight a one-eyed giant. Or befriend them. Or cook them blowfish. Given the open nature of choice in many games, many emergent storytelling situations can arise.  
Many games have approached player progression differently. Traditionally, a level-experience token is used. The player accrues experience by defeating enemies and completing encounters, the idea being that by the time they reach a certain level, they have had to witness a certain amount of content. Thus, a high-level player is one who has seen much of a game, and can be respected as one who has progressed. A low-level character hasn’t really seen or done much, and is a noob. Games using a Dungeons and Dragons (Dungeons and Dragons, 2018) statistics calculation approach, such as Star Wars: Knights of the Old Republic (Knights of the Old Republic, 2018), use this often, as do Massively Multiplayer Online games such as World of Warcraft, or Aion: Tower of Eternity (Aion, 2018).
Some games use the mechanics to progress the player. In Portal (Portal, 2018) and Portal 2, the player can only progress through the story as they learn the tricks of the various puzzles that they are presented. And excellent example of “teaching the player”, the player is initially shown how to simple make a portal. They are shown that they can move through it, and that it can only go on certain surfaces. Then, this knowledge is incremented. Objects can move through portals. Objects can press buttons. Buttons can open doors. Doors can have goo. Goo can make more portals. Or bounce. Or slide. The player is shown, and taught, more and more, and they progress as a real human being in their problem solving ability and in a highly valued skill: the ability to play Portal 2.
 
In case you missed it in my rambling, here it is again. Video Games are an exceptional tool to embroil people in worlds, stories and puzzles, such has never been seen before. Video games teach practical skills such as survival and problem solving, and ephemeral skills such as compassion, and loyalty.

They’re pretty damn cool.
 
Peter Carey
 
References
Arts, E. (2018). Dragon Age. Retrieved from https://www.ea.com/games/dragon-age/dragon-age-inquisition


Arts, E. (2018). Mass Effect Official Website. Retrieved from https://www.masseffect.com/

Bethesda LLC. (2018). Fallout [Windows]. https://store.steampowered.com/app/38400/Fallout_A_Post_Nuclear_Role_Playing_Game/.

Bethesda LLC. (2018). Fallout 4 [PC / Console]. https://fallout.bethesda.net/.

BioWare. (2018). Knights of the Old Republic [Windows]. https://store.steampowered.com/app/32370/STAR_WARS__Knights_of_the_Old_Republic/.

Blizzard Entertainment. (2018). World of Warcraft [Windows].

Naughty Dog LLC. (2018). Jak 3 [PlayStation]. https://www.playstation.com/en-us/games/jak-3-ps4/.

NCSoft. (2018). Aion [Windows]. https://www.aiononline.com/.

Spark Unlimited. (2018). Legendary [Windows]. https://store.steampowered.com/app/16730/Legendary/.

Tetris Holding. (2018). Tetris [Windows HTML]. https://tetris.com/play-tetris.

THQ Nordic. (2018). Elex [Windows]. https://elexgame.com/.

Treyarch Entertainment. (2018). Call of Duty [Windows/Console]. https://www.callofduty.com/au/en/.

VIVE Focus. (2018). Retrieved from https://www.vive.com/cn/product/vive-focus-en/

Windows Mixed Reality headsets. (2018). Retrieved from https://www.microsoft.com/en-us/store/collections/vrandmixedrealityheadsets

Wizards of the East Coast. (2018). Dungeons and Dragons [Tabletop]. http://dnd.wizards.com/.

Valve Entertainment. (2018). Portal [PC, Windows] https://store.steampowered.com/app/400/Portal/
 
 
 
 

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21/11/2018

CIM402 Week 8-9 Blog Part A

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Hi guys! The latest part of my blog, focusing on how game development can be used to affect an emotion in the player. The emotion in question? Enjoyment.
You may notice that I am skipping from Week 3-4 to Week 8-9. The inner weeks are on their way, I am simply a bit behind on my class work. It will be caught up on!
Enjoy the blog :)


Eliciting Enjoyment In The Audience
 
The Ekman Atlas of Emotions (Ekman, 2018) is the result of nearly 150 scientists who study emotion, coming together to share their knowledge. This study concludes that there are five (5) distinct emotions at a minimum: Anger, Fear, Disgust, Sadness and Happiness. Today, I want to look at how Happiness, or Enjoyment (as I will be referring to it), affects and is affected by the discipline of Game Development.
The Atlas of Emotion breaks emotions up in to three key areas: trigger, experience and response. What causes the emotion, how does this emotion present, and what are we likely to do in reaction? Enjoyment experiences are then broken down into a further twelve (12) sections, detailing exactly the type of experience, and its intensity. For example, we have a “sensory pleasure” response. This is defined as “Enjoyment derived through one of the five physical senses: sight, sound, touch, taste and smell.”, and has a low to medium intensity attributed to it. An example of this within game development may be simple aesthetic beauty (eyesight), or haptic feedback (touch).
Each of these 12 sections vary in intensity, none of a particular value but rather falling into range. For the purposes of description, I will be rating intensity on a 0-10 scale, 0 being not affective and 10 being total ecstasy. Given we are working with a range, you will thus often see a min-max format (e.g. 2-4).
 
Enjoyment is an emotion that is the traditional goal of game development. From our earliest ages, we play tag, chasey, tree climbing, swimming. We hop between cracks of bricks and from cushion to cushion so as not to perish in the lava of our loungerooms. With the advent of the video game development industry we experience the wonder of world exploration, the joy of fiero and sensory stimulation more than ever before. This enjoyment includes many of the 12 sections, however the key areas I wish to focus on are:
  1. Sensory Pleasure. A low to medium intensity experience (0-5), already defined as “Enjoyment derived through one of the five physical senses: sight, sound, touch, taste and smell.”
  2. Compassion. Another low to medium intensity experience (2-6), defined as “Enjoyment of helping to relieve another person's suffering.”
  3. Peace. A wide ranging experience (1-10), defined as “An experience of ease and contentment”
  4. Fiero. Another wide ranging experience (2-10), defined as “Enjoyment of meeting a difficult challenge (an Italian word).”
  5. Wonder. A medium to high intensity experience (4-10), defined as “An experience of something that is very surprising, beautiful, amazing or hard to believe.”
I will be referencing these experiences, and their place within the games industry as we go on.
 
But how exactly does Enjoyment tie into the games industry? For the sake of a tighter focus, I will constrain myself to video game design, and not the wealth of history and information contained within the physical mediums.
The first computer game was made in 1958 by Physicist William Higinbotham, using software co-opted from a missile trajectory system, and was named “Tennis for Two” ("October 1958: Physicist Invents First Video Game", 2018). The players had a dial and a button. The dial controlled angle, and the button hit the ball. The players had to time their shot and angle to make it over the net.
This game was remarkably simple, with two lines to represent net and ground, and a circle to represent the ball. However, the movement of the ball was smooth and continuous, and the game created a sense of Sensory Pleasure. Given that this game was shown off at a technical exhibit, Higinbotham attributed its popularity to the fact that “the other exhibits were so dull”. However, in interacting with this medium in such as unique and innovative way, all participants of this exhibit experienced a sense of Wonder in its use. And this game was not easy. A mistimed or malaligned shot would cause a fail state, so there was also a sense of Fiero in the game.
This represented the beginning of the game development industry, however as time has passed and technology has evolved, games have found more and more avenues to express themselves. Games are now used for education, storytelling and art, inspiring more and more varied emotions in the player.
Let us take the Witcher III: Wild Hunt for example. Widely lauded for being one of the greatest storytelling experiences of all time, the player is continuously in a state of Wonder. The world is huge, and there are hundreds of NPC’s to interact with, whether it is just a quick word or hour-long quest. The game looks at several philosophical statements as its core, the foremost being “Slaying monsters”. “Slaying Monsters” was the title of the pre-release promotional trailer, where Geralt, the protagonist, comes upon a set of men assaulting a woman. He has dealing with these men, and begins to ride away, but upon turning back he is asked “What are you doing?”, to which he replies “Slaying monsters”. Here the developers look at the comparison of the basest human natures to that of a traditional monster (slimy skin, big teeth and all). This message goes beyond what was every portrayed in traditional games, and perhaps what was even possible to portray.
 
The game industry approaches the creation of enjoyment in various ways, but a widely known theory known as “Flow Theory” forms a large centrepoint for many related decisions. “Flow” is defined as “the state of concentration and engagement that can be achieved when completing a task that challenges one's skills” ("Flow Theory & Works", 2018) and this theory was proposed by 1950’s Slavic Psychologist Mihaly Csikszentmihalyi. Flow exists when the challenge presented to a person is equal to their skill. Both challenge and skill must be above a certain threshold to avoid apathy however.

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Csikszentmihalyi links Flow directly to enjoyment and happiness, not only instantaneous, but long lasting, as the flow-ee is often “creating high quality works” or “improving skills leading to mastery”.
This theory has been central to game development for many years now, with developers striving to modulate game difficulty to match player skill. A common example of a games use of Flow can be seen in Tetris. In the beginning of Tetris, the user feels apathy or boredom. However, the game scales continuously, with the challenge rising per line deployed. Thus, the challenge rises to meet player skill, and the player often ends in a state of flow.
Another notable, if not ethical, mechanic that is often used in game development in the pursuit of enjoyment is the Skinner Box, or Operant Conditioning. “Operant conditioning is a method of learning that occurs through rewards and punishments for behavior. Through operant conditioning, an individual makes an association between a particular behavior and a consequence” (Skinner, 1938). Skinner goes on to link positive rewards with continued behaviour, and negative rewards to negative behaviour. This is prevalent in our lives, from early childhood behaviour reinforcement to our adaptation to new environments in adult life. It is also highly prevalent in game development.
At the most basic level, game development uses skinner box tactics to make the player feel better. “You passed a level!”, “You got gold!”, “You did the thing we wanted you to do!”. The purpose of this is twofold. First, the developer can lead the player down the paths they want them to go in the game using only reward tactics. Reward a player for turning left at a maze 100 times, and they will turn more left than right. The second is that once positive stimuli has been repeated within the games context for a sufficient amount and time, the player will begin to associate the experience of playing the game with pleasure, at a subconscious level at least. This will lead them to continue playing the game, increasing retention rates.
But while subconsciously enjoying, often the player will consciously dislike the game. For example, Candy Crush. Candy Crush uses Continuous Reinforcement, “…reinforced every time a specific behaviour occurs” ("B.F. Skinner | Operant Conditioning", 2018) to reward the player whenever they complete a level, or make a match. This has lead to a high retention rate for the game. However, due to a consistent theme and challenge, the game often becomes boring after a certain time. At this point the player ends up in a conflict of the two mindsets. The first: I should stop playing, as I am not enjoying myself any more. This is the uppermost thought, the conscious thought. The second: I should continue playing to receive rewards. This is the lower thought, the subconscious. This conflict often leads to players playing for much longer than they wished, and then associating the game with a negative experience.
Finally, one of the most common techniques in game development, and a subset of Operant Conditioning theory, is Token Economy. A Token Economy is a secondary reward type that rewards the player with small elements of faux currency. This currency may then be exchanged later for a primary reward. Within game development, it is common to have a currency system, (traditionally gold, although often something else) that may be used to purchase goods and services within the game. However, with the advent of microtransactions in the modern game, the game economy now often encompasses 2-3 currencies.
  • A prime currency which is used directly within the game, and is part of the core game loop
  • A prime/premium currency which is used directly within the game but can be purchased using either prime or premium currency
  • A premium currency, that can only be purchased using real money. This currency can be used to buy prime currency, or items that exist outside of the game loop. These can modify progression significantly beyond that which a non-paying user may achieve.
This three (3) currency system allows for multiple tiers and intensity of reward. The player experiences the reward of receiving the currency, and then the reward of spending it. As a game developer, we can use currency accrual to reward the player for actions, however the players choice for spending that currency can be varied, and is harder to associate the reward for this with an action.
 
Peter Carey
References
B.F. Skinner | Operant Conditioning. (2018). Retrieved from https://www.simplypsychology.org/operant-conditioning.html
Ekman, P. (2018). The Ekmans' Atlas of Emotion. Retrieved from http://atlasofemotions.org/#states/enjoyment
Flow Theory & Works. (2018). Retrieved from https://study.com/academy/lesson/mihaly-csikszentmihalyi-flow-theory-works.html
October 1958: Physicist Invents First Video Game. (2018). Retrieved from https://www.aps.org/publications/apsnews/200810/physicshistory.cfm

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    Peter Carey. Game Developer, STEM Education Provider, Dracon Interactive Founder

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