Upon finishing all the required research questions, I’m now taking time to review my work process and critically evaluate what I might have done wrong or where I could improve in terms of my research work.

I’d firstly comment on the Harvard referencing and giving evidence for my work in terms of where I have stated some facts. I feel like where I can read through sources to improve my knowledge on the give subject, I would then get carried away with the written work and forget that I might be writing about a topic and stating facts that I feel are correct from my given sources. I would like to improve my proof reading for the future. To find any facts or statements without a reference to rectify this. I should be vigilant in terms of recording every website that I have visited. Keeping these separate from the actual referenced materials within my work. I have only realised that I have had bibliography and references mixed up the wrong way round all this time. (DifferenceBetween.net, 2017) So for the future, I can remember this little lesson and use the correct formatting. This said, I still know that I should include both of these and am confident in my respect for correct referencing.

Since completing these questions, it has made me more aware of when I am designing gameplay to remember aspects of player involvement. Using HCI correctly can greatly increase the player’s information thus improving their experience. Also gaining a better understanding about artificial intelligence, making sure when it is used, to give it the required level of intelligence within it’s context. A 2D enemy should simply be able to seek and destroy the player. whereas a NPC that hands out quests would want to be designed with more attention, thinking about their manner, personal quarrels and style of speech. All important to creating AI that is more recognisable as a human to the player.

Overall the module has been very interesting and I have enjoyed the questions. They have enabled me to research into subjects I might not have usually looked at and lead me to find out knew interests. Skill, Stamina, Luck introduced me to the Fighting Fantasy novels which have made me realise what an important role narrative and immersion has when it comes to particular genres “side quests also fill up the surrounding universe with incredible lore, leading to deeper immersion for players.”(Kemme, 2016). Creating choice for players lets them feel like they are in control. That and learning about copyright which will be useful for me when working in the creative industry. Keeping me from making a mistake and making copyright infringement.

References

DifferenceBetween.net, 2017. Difference Between Bibliography and References. [Online]
Available at: http://www.differencebetween.net/language/difference-between-bibliography-and-references/
[Accessed 06 12 2017].

Kemme, S., 2016. What Makes Us Love Role Playing Games?. [Online]
Available at: http://www.gamersdecide.com/pc-game-news/7-reasons-why-we-love-rpg-games
[Accessed 07 12 2017].

> How would you describe copyright law today and why we (might) need it?

Although the idea of copyright law is to legally protect someone’s material work, different country’s legal system might work in slightly different ways to protect, yet there is a union for nations to join that allows the author’s nations laws to come into effect first. (World Intellectual Property Organization, 1979) So, to describe copyright in once case might be describing it incorrectly for a particular nation’s laws and rights.

In general, copyright was created for protecting original works, which could be in the form of music or film media, art or literary works in the broadest sense or anything created digitally (Gov.uk, 2017). The way which copyright law works is to protect others from using material work without permission. It is important to note that only ‘material’ work is protected and not ideas, unless they are written down, making them material.

The reason for professionals to want copyright laws would be to prevent other persons from using that created work for their own benefits without the author’s permission. A good and clear example of this would be the act of piracy of media such as DVD’s or music. (Laws.com, 2017) Copying for free the creations of these without paying is a copyright infringement and violates the rights of the owner/author of that media. This also applies to non-professionals that may create something as explained above, though due to the costs of legal representations, it can be difficult for some to protect their copyright. (Vandergriff, 2011)

> Outline an example where you think influence became infringement?

King Kong Vs Donkey Kong

The classic King Kong of 1933 was a film created by RKO General (IMDb, 2017), a company which later, legally forced Universal to defend their rendition of King Kong in 1976. (OpenJurist, 1986) Not long after this, in 1982, Universal filed copyright infringement against the creators of Donkey Kong, claiming that

“Nintendo infringed Universal’s trademark in King Kong when it marketed its popular video game Donkey Kong.” (OpenJurist, 1986)

I feel this case is an interesting example of where influence came close to becoming infringement. The sole reason to why both law suits were awarded to the defendants was due to the Intellectual Property(IP) of King Kong belonging to public domain. This put simply, is a type of work that cannot be copyrighted, therefore not owned by an individual or company. Anything within the public domain belongs to the public, free to use without permission. (Stanford University Libraries, 2017) Universal used this knowledge to win the case against RKO General to be able to use King Kong IP. It was this same reasoning that Nintendo was ruled for, in defence against Universal.

Although the question is where influence became infringement, I feel it is important to notice that without the public domain, Universal would not have been successful in their first lawsuit. Without public domain, Universal would have breached the copyright infringements by using King Kong IP. Therefore, would not have been in position to claim ownership against Nintendo. Both Nintendo and Universal were influenced by the original of 1933, co-authored by the author of the book upon which the film was based on. Which would mean the original film had the copyrights to the IP.

Bibliography

Gov.uk, 2017. How copyright protects your work. [Online]
Available at: https://www.gov.uk/copyright
[Accessed 02 12 2017].

IMDb, 2017. King Kong. [Online]
Available at: http://www.imdb.com/title/tt0024216/
[Accessed 03 12 2017].

Laws.com, 2017. 10 COPYRIGHT LAWS YOU HAVE TO KNOW. [Online]
Available at: https://copyright.laws.com/copyright-law
[Accessed 02 12 2017].

OBIAS, R., 2014. 11 Times Video Games Led to Lawsuits. [Online]
Available at: http://mentalfloss.com/article/55078/11-times-video-games-led-lawsuits
[Accessed 03 12 2017].

OpenJurist, 1986. 797 F. 2d 70 – Universal City Studios Inc v. Nintendo Co Ltd. [Online]
Available at: https://openjurist.org/797/f2d/70/universal-city-studios-inc-v-nintendo-co-ltd
[Accessed 03 12 2017].

Stanford University Libraries, 2017. Welcome to the Public Domain. [Online]
Available at: https://fairuse.stanford.edu/overview/public-domain/welcome/
[Accessed 03 12 2017].

Vandergriff, J., 2011. The True Cost of Copyright Infringement. [Online]
Available at: https://webdam.com/blog/true-costs-of-copyright-infringement/
[Accessed 03 12 2017].

World Intellectual Property Organization, 1979. Berne Convention for the Protection of Literary and Artistic Works. [Online]
Available at: http://www.wipo.int/wipolex/en/treaties/text.jsp?file_id=283693
[Accessed 03 12 2017].

References

http://smallbusiness.findlaw.com/intellectual-property/what-is-copyright.html/

https://copyright.laws.com/copyright-law

https://www.gov.uk/copyright

http://www.differencebetween.com/difference-between-copyright-and-vs-intellectual-property/

http://www.wipo.int/wipolex/en/treaties/text.jsp?file_id=283693

https://www.britannica.com/topic/Berne-Convention

http://www.clickandcopyright.com/blog/is-this-copyright-infringement-3-examples-and-explanations/

https://99designs.co.uk/blog/tips-en-gb/5-famous-copyright-infringement-cases/

http://mentalfloss.com/article/55078/11-times-video-games-led-lawsuits

https://www.nytimes.com/2017/03/07/movies/kong-skull-island-and-other-kong-movies.html

http://www.imdb.com/title/tt0024216/

https://www.techdirt.com/articles/20130215/07520921998/historical-hypocrisy-donkey-kong-king-kong-public-domain.shtml

https://openjurist.org/797/f2d/70/universal-city-studios-inc-v-nintendo-co-ltd

https://fairuse.stanford.edu/overview/public-domain/welcome/

http://www.nintendoworldreport.com/feature/23122/nintendo-history-101-donkey-kong-vs-king-kong

1. A) Behavioural modelling is an important part of NPC development for games. Should emotive modelling be part of that development?

It all depends. Considering the level of emotive modelling technology and how this is still a field being worked on, lets presume it’s at its fullest potential. With NPC characters in game walking about freely, once the game is opened, doing as they wish. Learning new processes, understanding the other NPC’s and judging the player for who they really are.

One look at the Sims franchise and it is obvious to concur that advanced AI is something attractive to a large population, with over 200 million copies sold up to 2016. (The Strong, 2016) So why would emotive modelling not integrate into this game system? Well a NPC, after watching the player’s family go under days and days of torture in the swimming pool or trapped within a box, then seeing death show up, could have a serious effect on this NPC’s ‘human like’ emotive modelling.

(wikiHow, n.d.)

When talking about advanced AI and how intelligent it could be, it is always compared to human intelligence and emotion. Place emotive modelling within Call of Duty 4 campaign. Modern Warfare, the first level is played for the first time and these AI can be their learning process. Of course, there will be a number which meet their demise sooner than others in a linear campaign yet if the player is killed and must load from a saved location, what happens to the now intelligent AI? It then raises the morality question in how advanced AI can be used and where it stands.

Although these are extreme instances, I still feel that with emotive modelling would come the process of learning, and if it is okay to shut down and restart this AI and its own ‘life’, then maybe it can be used.

1. B) Consider your favourite video game. If it contains AI controlled agents how individualistic are they and their behaviours, and, how might you set about improving them?

My favourite video game that comes to mind is Skyrim, hugely because of the open world and the freedom what feels like has been given to many AI in that game. But now I have been posed with the question I cannot help to instantly find faults with how individualistic they are. It’s not just the individualistic qualities that stand out as poor AI, but the level of ‘intelligence’ seemingly in these NPCs.

(Anon., 2017)

Despite the previous question, this image expresses one of the key problems within Skyrim AI. No matter what you might do for a village, you might accidently pick up something from a cluttered table in front of a vender and become under siege. So, I’m thinking that including emotive modelling could be useful in this type of game. Where there is an equal amount of good and bad in the world.

There are groups and NPCs which will remember the player character and their actions, but this is to do with the pre-programming and is obvious as to how genuine it feels. When performing sneaking attacks and moves, although the game has so much lore, the responses from the AI verbally are generically the same and so can become boring and similar. This also applies to friendly AI.

(GreaterThanGaming, 2013)

I would say that the best way to improve on the AI in Skyrim would be to increase the memory, or simply give them memory in the first place. And in the case of the image above, something that does happen in the game; make sure that enemy AI are experienced in their chosen profession, to at least know an arrow in the face means you haven’t imagined anything.

References

http://iieng.org/images/proceedings_pdf/3408E0314005.pdf

http://ieeexplore.ieee.org/abstract/document/5286500/?reload=true

https://www.theguardian.com/technology/2016/oct/12/video-game-characters-emotional-ai-developers

https://www.gamespot.com/articles/the-sims-turns-10-tops-125-million-units/1100-6249485/

https://en.wikipedia.org/wiki/The_Sims#cite_note-2016_World_Video_Game_Hall_of_Fame_Inductees_Announced-1

https://en.wikipedia.org/wiki/Call_of_Duty_4:_Modern_Warfare

https://www.gamefaqs.com/boards/615805-the-elder-scrolls-v-skyrim/61787666

https://www.destructoid.com/blogs/greaterthangaming/most-overrated-skyrim-and-what-it-does-right–257741.phtml

Bibliography

Anon., 2017. 24+ Best Skyrim Memes That Will Make You ROFL. [Online] Available at: https://www.techlegends.in/best-skyrim-memes/ [Accessed 18 11 2017].

GreaterThanGaming, 2013. Most Overrated: Skyrim (and what it does right).. [Online] Available at: https://www.destructoid.com/blogs/greaterthangaming/most-overrated-skyrim-and-what-it-does-right–257741.phtml [Accessed 18 11 2017].

The Strong, 2016. 2016 World Video Game Hall of Fame Inductees Announced:. [Online] Available at: http://www.museumofplay.org/press/releases/2016/05/2688-2016-world-video-game-hall-fame-inductees-announced [Accessed 18 11 2017].

wikiHow, n.d. wikiHow to Kill Your Sims in Sims 3. [Online] Available at: https://www.wikihow.com/Kill-Your-Sims-in-Sims-3 [Accessed 18 11 2017].

A) select one example to outline the key concepts of human-computer interaction. Reflect upon the role of the “human”, the “computer” and the “interaction”.

Human-computer interaction (HCI) is a system constructed to improve the relationship and communication between human and computer. The idea that with the correct HCI system in place, the work/play input and output of both human and computer should be in this constant state of ‘flow’.

(Gorp, 2006)

This concept of flow might not obviously relate to all types of HCI but the theory still connects, even for online shopping. HCI relies on past experiences of the human to design the level of challenge within an interface. Looking at HCI within games, flow is highly important to maintain a level of interest in the game. Too high a difficulty level and no experience causes high anxiety; hence the reason for many games to include difficulty options, for the more experienced or less players.

(Hardgrit, 2015)

The Human contains the past experiences, if any. HCI relies on what the user knows and how they might interpret a virtual shopping basket for example. It is then the web-page designer’s role to predict where the user might expect to find the ‘Buy Now’ or ‘Purchase’ buttons. Even between those two words a choice would have to be made, what is most obvious to the user, then where might it be positioned and how might the button be designed? From this the interaction plays its role. This interaction should be viewed as a learning experience as well as research. The user would know where to click next time they were on the site, creating this stream-lined ‘flow’ process.

B) discuss the relationship between games design and human-computer interaction

When HCI is involved with games, it should be given special attention to make sure the human gains as much information from the game as possible to make the experience a positive one. This means designing menus and options in such a way that gives the User Interface (UI) an affordance for its functions.

(Demarco, 2014)

Not only the menus are important within a game’s HCI, other UI elements such as instant reactions that players require to tell them information. The hit-mark cross hairs used by First Person Shooters, these are indications that an enemy has been hit, which has a level of difficulty which can be then increased by removing these hit-marks, taking away the information but increasing the realism.

(Anon., n.d.)

What this relationship is about, is portraying valid information back to the human ‘the player’. There are cases in which the game’s design of HCI hasn’t been good enough for the players; the layout of graphical user interface, the information that is fed back to the player. So, there are cases where the gaming community design their own HCI, modifying the Heads-Up Display (HUD) and UI in such a way to customise it exactly the styles they wish. World of Warcraft has modifications that can completely remove the standard HCI for something more unique for the playstyle of the individual.

(Johnson, 2012)

(Ceraphus, 2010)

As you can see, top image is the default UI and HUD, compared to the completely changed bottom image. There is the same and a lot more information now being delivered to the player, this can be due to the personal preferences of the player as well as the depth of the game’s content.

References

https://www.interaction-design.org/literature/book/the-encyclopedia-of-human-computer-interaction-2nd-ed/human-computer-interaction-brief-intro

https://www.slideshare.net/trevor.vangorp/emotion-arousal-attention-and-flow-chaining-emotional-states-to-improve-human-computer-interaction

http://www.dictionary.com/browse/interaction

http://web.cs.wpi.edu/~imgd4000/d07/slides/HCI.pdf

http://sites.psu.edu/gamedesignbynickdemarco/2014/04/18/user-interfaces-in-games/

http://variantavatar.com/2010/08/how-i-wow-user-interface/

http://pc.gamespy.com/pc/world-of-warcraft-mists-of-pandaria/1226350p1.html

Bibliography

Anon., n.d. TF2 Hitmarkers W/sound. [Online] Available at: https://gamebanana.com/effects/5061 [Accessed 11 11 2017].

Ceraphus, 2010. How I WOW: USER INTERFACE. [Online] Available at: http://variantavatar.com/2010/08/how-i-wow-user-interface/ [Accessed 11 11 2017].

Demarco, N., 2014. User Interfaces In Games. [Online] Available at: http://sites.psu.edu/gamedesignbynickdemarco/2014/04/18/user-interfaces-in-games/ [Accessed 11 11 2017].

Gorp, T. v., 2006. Emotion, Arousal, Attention and Flow: Chaining Emotional States to Improve Human Computer Interaction. [Online] Available at: https://www.slideshare.net/trevor.vangorp/emotion-arousal-attention-and-flow-chaining-emotional-states-to-improve-human-computer-interaction [Accessed 02 11 2017].

Hardgrit, R., 2015. Wolfenstein: The New Order (PC). [Online] Available at: http://superadventuresingaming.blogspot.co.uk/2015/03/wolfenstein-new-order-pc.html [Accessed 02 11 2017].

Johnson, L., 2012. Massivity: How UI Mods Burn MMORPGs. [Online] Available at: http://pc.gamespy.com/pc/world-of-warcraft-mists-of-pandaria/1226350p1.html [Accessed 11 11 2017].

A) Choose one of the indie designers / developers and outline why there work and approach is of interest to you.

(Offworld Industries, n.d.)

The indie development team that stands out to me largely is Offworld Industries. This 22-strong team began from one founder, a continuation on the much older Battlefield 2 Mod ‘Project Reality’. Offworld Industries’ current project is called Squad, a first-person shooter ‘FPS’ aiming to take multiplayer to the next level of realism. Throwing 50 vs 50 players into a scenario with; highly realistic sound effects, control systems and team communications to work as closely to modern day military combat. Now with all this in mind, the original team of modders have realised that there is an audience out there, enjoying the fantasy of combat realism in video games. Their approach to building Squad is purely natural because of the spirit they work with from the beginning with Project Reality.

It’s in taking the basis of a AAA title and deciding it’s not what ‘we’ want or not what it should be is what I find so intriguing. If the tools and skills are there, inspiration from a game can lead to more intricate and more detailed versions. Furthermore, the team have even released their own modding development kit, encouraging the community to continue the development of ideas around the tactical FPS genre. “Squad currently had a mod-friendly SDK….ready for modders to get their hands on and develop their ideas on Squad’s code and asset base.” (Offworld Industries , 2017). I enjoy watching the development of Squad because Offworld know where they came from and make sure to listen to the community, asking how to improve and what to add next.

(Offworld Industries, 2015)

 

> B) What do you think could be the most exciting indie projects that are in development

For me, continuing with Offworld Industries’ Squad would be most appropriate. Even though a military simulation game is the type of game that I am personally into, it is a game that is using the Unreal Engine 4 game engine to develop and test the modern boundaries of gaming technology. The fact that; 50 players can face another 50 players, separated into combat style squads, using military based communication systems to talk through a chain of command, is pushing the FPS shooter genre into newer boundaries.

(Squad Ops, 2017)

Because of the Early Access possibilities which digital gaming now provides, the gaming community supporting the developments can play and test the game during its Alpha and Beta stages in development. What is so exciting about this project is that it has such an impact on its fan base with such a thinned-out game already.Communities such as Squad Ops. This community is run by gamers for avid gamers who want immersive, tactical teamwork, (Squad Ops, 2017) creating an even more realistic gaming experience over the already focused indie game that is Squad.

These aspects, including the previous question’s make this game a very ambitious, yet impressive indie project. Even though it has a moderate size team, it is still indie; they want to create a game which is for them and the like-minded players willing to help fund and test through development. (Squad Ops, 2017)

References

http://joinsquad.com/about

https://press.joinsquad.com/#factsheet

https://squad.gamepedia.com/Squad_Wiki

https://squadops.gg/about https://squadops.gg/

http://www.pcgamer.com/50-vs-50-military-fps-squad-heads-to-early-access-next-month/

 Bibliography

Industries, O., 2015. Squad – Communicate. Coordinate. Conquer. [Online]  Available at: https://www.kickstarter.com/projects/offworldindustries/squad [Accessed 26 10 2017].

Offworld Industries , 2017. Description. [Online]  Available at: https://press.joinsquad.com/sheet.php?p=squad [Accessed 26 10 2017].

Offworld Industries, 2015. Squad – Communicate. Coordinate. Conquer. [Online]  Available at: https://www.kickstarter.com/projects/offworldindustries/squad [Accessed 26 10 2017].

Offworld Industries, n.d. Logo. [Online]  Available at: https://press.joinsquad.com/squad/images/logo.png [Accessed 26 10 2017].

Squad Ops, 2017. [Online]  Available at: https://squadops.gg/ [Accessed 26 10 2017].

Squad Ops, 2017. About Squad Ops. [Online]  Available at: https://squadops.gg/about [Accessed 26 10 2017].

> A) choose one of the game books or text adventures that interested you and play through. Reflect upon the experience as a current gamer?

(Fighting Fantasy, 2017)

Picking up ‘The Warlock of Firetop Mountain for the first time bought an eager excitement to light within me. I could tell from the artwork, the founders of Games Workshop, Steve Jackson and Ian Livingstone knew about fantasy and would take me on a thoughtful journey. The book then speaks to YOU. YOU are highlighted as the key element to this adventure YOU are about to undertake. A guide for new players and reminds experienced players which way to head for the Hero set-up. The set-up is clever as to use chance to decide attributes, so a new play through is a new experience. The Hero set-up made me think about contemporary games and character customisations and how this was just an early foundation for these game features.

What surprises me, is how the setting of this world is described without huge detail, yet allows the imagination to run and makes it more personal. Whilst playing, the choices that you are given reminds me a lot about The Stanley Parable, giving me a choice of where to go immediately from the beginning. This absorbed me in very quickly, providing me with a frustrated fun for two, maybe three hours whilst being lost within a maze. What’s more, I ended up drawing out a map where I had been, physically immersing me into this world. Comparing this to modern video games, gave me a fresh new outlook on the possibilities behind interactive narrative in games.

Image of map I created whilst playing The Warlock of Firetop Mountain

> B) select one of the contemporary game writers and explain what is innovative about their use of interactive narratives?

(Elements, 2013)

One game that stands out to me with the most interesting interactive narrative for one to respond to is The Stanley Parable as mentioned previously. The game was originally developed as a Mod for Half Life 2 and later became a standalone game, which was the brain child of Davey Wreden. It was this newly formed Modder who began to question the attributes of the way narrative in video games have been written, realising that there have been many limitations within the interaction for video games. Wreden, when interviewed he explains how, without blaming anybody in the industry particularly, the AAA videos games tend to assume on how the players will react, built upon the current industry practices. It was this realisation on the assumptions when developing video games, that allowed Wreden to design something with a question to make the player take a second to think, not just play on through. “I just had an idea for a kind of game that broke player expectations, that delivered a familiar experience in a new way.”  (Shack News, 2011)

For me, when playing this game, I felt a sudden moment of… freshness. It was the first time as a ‘gamer’ I had ever felt this way about the game. After the intro and build up, the narrator is telling you what you are supposed to do and where to go. Then you come to a room with two open doors, the narrator continues to tell you to go through the left door, yet you are free to enter the right. I thank Wreden’s innovation to think..“The very first thing I asked with the game was “what would happen if you could disobey the narrator?””  (Shack News, 2011)

References

https://www.vice.com/en_uk/article/bndz94/steve-jackson-ian-livingstone-283-v16n12

https://www.wired.com/2015/10/the-beginners-guide/

http://thestanleyparable.wikia.com/wiki/Davey_Wreden

http://www.shacknews.com/article/70363/interview-davey-wreden-on-stanley-parable-remake-and-self-taught

https://en.wikipedia.org/wiki/The_Stanley_Parable#cite_note-rps-4

https://player.fm/series/core-elements/ce-51-davey-wreden

Bibliography

Elements, C., 2013. CE 51: Davey Wreden. [Online]
Available at: https://player.fm/series/core-elements/ce-51-davey-wreden
[Accessed 25 10 2017].

Fighting Fantasy, 2017. Home. [Online]
Available at: http://www.fightingfantasy.com/
[Accessed 24 10 2017].

Shack News, 2011. Interview: The Stanley Parable developer Davey Wreden. [Online]
Available at: http://www.shacknews.com/article/70363/interview-davey-wreden-on-stanley-parable-remake-and-self-taught
[Accessed 25 10 2017].