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 (3)

Behavioral modelling is an important part of NPC development for games. Should emotive modelling be part of that development?

That depends on the Game genre in question. For more gameplay-based genres such as FPS and RTS, most players wouldn’t notice an emotive response from an NPC and most of those NPCs would be “killed” too quickly for there to be any point to them reacting emotively. Whilst an RTS may still benefit from an NPC emulating emotions (e.g. launching an all out assault due to frustration), it isn’t as important as other parts of the AI’s programming and so should be modeled albeit not implemented unless the project has spare time.

However, genres that are more story-based like RPGs and “Narrative Games” (A term for “Walking simulators” posited by Kill Screen), NPCs having emotional response only serves to draw the player in further and so increase the quality of their time spent with the game. It does so as the Player will spend a lot more time with NPCs (They may still “kill” a few but are more than likely to be accompanied by at least a single companion), so the player would have time to appreciate the effect the emotive response may have upon gameplay. As these genres are also typically slower paced, the player also has an increased chance of actually noticing the effect as well.

In conclusion, it depends on the Game’s genre and focus, but it would always be a nice touch.

B (1)

A lot of people are scared by the prospective of AI. What do you think would be the ramifications of us achieving true “strong” AI?

I believe that a “True Strong AI” is only as good as it’s coders. I mean this in two ways: What the AI is given the capability to do; and Human Error.

As was stated in the lecture, what is and isn’t AI is down to intent. This intent also decides what we allow the AI to control. By limiting what the “Strong” AI can interact with and what it can do (via code), we are robbing it of both free will and potentially beneficial learning environments, which is ethically wrong. But by allowing to interact with anything and do what ever it wants, we are creating a Health and Safety hazard for both us and AI, especially a newly created one that is still attempting to learn.

Human Error just emboldens this. When we, as game developers, miss a semi-colon or misplace a decimal point, things go slightly out of wack but we can fix it. What if we made an error to an AI’s permissions? Whilst it could be completely harmless, it could also stir up trouble. Microsoft’s “Tay” AI was allowed on twitter for a day, and that (quite famously) went awry. If an AI was accidentally granted access to the internet, that may be a wealth of knowledge but we have no clue what all that data could do to a “Strong AI”. Whilst the issue could probably be sorted by resetting the AI, if the AI is truly a “Strong” AI, there are Moral implications with such an act.

However, this is not to say that I’m against the existence of “Strong” AI in the future, but I believed that it should be developed much like a Human Child is, in Supervised Learning where we can make sure they’re on the right track and developing a good moral compass (themselves, not encoded) with programmes and the such in place to get them back on track (much like enrichment courses), alongside being tested every now and then to see if their learning is progressing nicely, They should also be subject to the Social Contract and UN Rights upon creation, much as we humans are. This would cause their “Upbringing” to be very similar to that of humans and therefore (theoretically) increase how similar the AI acts and thinks compared to us Humans.

References

Kill Screen, Is it time to stop using the term “Walking Simulator”, killscreen.com/articles/time-stop-using-term-walking-simulator/, 09/11/17

Tech Crunch, Microsoft silences its new A.I. bot Tay, after Twitter users teach it racism [Updated], techcrunch.com/2016/03/24/microsoft-silences-its-new-a-i-bot-tay-after-twitter-users-teach-it-racism/, 09/11/17

Laura Neal
19/10/2017
Question Pair No. 2:

> (A) Select one example to outline the key concepts of the interactive narrative genre
> (B) Does the interactive narrative still have a role to play in video games today?
Give exemplary examples.
—
Although it is not my area of expertise, I cannot deny that I have always been very interested by the concept of the ‘interactive narrative’ game and its history whether the outcome of a story depends either wholly or partially on a player’s choices and interactions within given scenarios. In fact I have, almost subconsciously, created several small pieces of artwork based around presenting a player with a choice just to see their reaction.
Today I aim to examine how much of a role the interactive narrative still has in video games and will be discussing one main game as a focal point and a small range of games I am familiar with that fall within this category. The aforementioned focus game will be ‘Façade‘ (2005) which I have chosen to outline the key concepts of the interactive narrative genre.
A few games well worth mentioning within this genre are ‘Heavy Rain‘, (2010) ‘The Stanley Parable‘ (2013) and ‘L.A Noire‘ (2011) When I mentioned briefly about the outcome of a story depending either wholly or partially on a player’s choices, I was entertaining the idea that even a small integration of an interactive narrative can be significant. ‘Fable II‘ is a good example. Within the story the player is, at pivotal moments, presented with choices that, when responded to, directly reflect upon the players (or ‘Hero’s’) character. These choices can even go as far as to change gameplay. For instance, if the player decides not to defend a specific region from evil, that region can become tainted and lifeless. Cutscenes for both options on almost every choice emphasise that the game is truly shaped by the player’s interactions.

‘Façade‘ is, along with ‘The Stanley Parable‘, one of the best examples of an interactive narrative due to its heavy dependency on the player’s involvement. However, I have found that both games seem more like an ‘experiment’ into human nature, the latter being more successful with this. ‘Façade‘ can also be viewed as a ‘breakthrough’ game due to its attempt to use of Artificial Intelligence in 2005.
The general story of ‘Façade‘ is that you are a friend of ‘Grace’ and ‘Trip’ and have been invited to stay at their flat for a small cocktail party. However, tension between the two is obvious even before initiating gameplay, as you can hear them feuding through the apartment door. The player’s interaction comes in the form of being able to type whatever text you desire directly into the game, meaning you can ‘talk’ to the couple.
You, as the player, are then given the choice to either convince them to stay together or make the situation worse. However, the objective is not clear. What is known is that there are multiple endings caused by typing certain pieces of text towards Grace and Trip.
In conclusion, I believe that the interactive narrative genre is still evolving in video games. ‘Façade‘ was an early attempt to involve the player more than ever when it came to storytelling.

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(3)

Monomi Park logo (Credit: http://www.monomipark.com/)

Monomi Park are a 5 man Indie team, their only game being Slime Rancher. Whilst I have only played 1.0.0 onwards, I know a bit about previous versions thanks to the games wikia (http://slimerancher.wikia.com/wiki/Slime_Rancher_Wikia). I love how they developed the game from a simple and happy farming game (The game’s twist being you use a super-powered high tech vacuum cleaner for the farming), into a game with beautifully told story that slowly develops as you adventure through the “Far, Far Range” (Which appears to be the name of the planet upon which the game is set). The story is tale of how the farm’s previous owner had to choose between his love of exploring the unknown or his love for a fellow Slime Rancher. Whilst your character discovers this story by exploring parts of the Range, she receives regular “Star mails” (E-mails) from a friend back on earth, and it slowly becomes obvious that they were very close and maybe even in love.

This heart-felt story combined with the happy demeanor of the slimes, creates a relaxing atmosphere to play in.

A Slime Rancher wallpaper (Credit: http://www.slimerancher.com/)

Looking at the Games Versions, it seems to me that they focus on providing gameplay improvements for players (New areas, game balancing and optimization), then polish up these improvements with story and character afterwards. I like this “Game first” approach as the story takes so so long to unveil that the gameplay takes centre stage a lot throughout the game, with the story providing motivation and backstory as you go.

The happy demeanor doesn’t just belong to the slimes however, as you can tell from flavour text on items and update notes that they care about the project without taking themselves too seriously (their descriptions on http://www.monomipark.com/#crew are a good read).

Side note: I was stuck between the Developers of "Slime Rancher" and "Dust: an Elysian Tail"
I went with Monomi Park as "Slime Rancher" is more recent than "Dust: an Elysian Tail"

B(1)

Has the term “Indie” become meaningless?

I don’t think so, no. In all honesty, I think it’s started to carry a bit of weight. As the years go by, more and more players are being let down by Triple A developers and are migrating to Indie games, which tend to value the community and players more than their Triple A cousins even claim to. Personally responding to Player comments, improving the game through player feedback and conversing with the community is far from uncommon when it comes to Indie development, and players value that a lot. Rather than the term losing meaning, it has instead seemingly become a standard, a bar that Indie developers need to reach and overcome. Being “Indie” seems to come with a responsibility to commune with the community over various media forms and to engage the players both in and out of the games they develop.

To summarize, I believe that “Indie” has become a highly positive word that attracts Gamers but places a responsibility on Developers.

Refrences

Monomi Park, Home, www.monomipark,com, 26/10/17

Monomi Park, Home, www.slimerancher.com, 26/10/17

Interactive narratives are a form of story that give the user control over choices that influence the direction of the narrative. Essentially it is a step up from linear story-telling mediums, such as books and film, that allows for a more engaging and personal experience. Whereas books have you read about a characters life, interactive narratives let you escape your own life by putting you in the driving seat of another. There are limitations in that the multiple paths are  predetermined; but the concept of choice is what is so unique. Telltale is an example of a video game company that follows the ideas of interactive narratives. The games they create let the user make meaningful decisions in their stories – either through dialogue choices or actions. One of the most appealing parts of their games recently is how they have taken existing franchises and let you take control of the protagonists. The fact that interactive narratives let you not only experience unique and expansive worlds but also influence them is why I think it is such an interesting medium that with continue to evolve.

Telltales The Walking Dead

Early forms of this medium provided the building blocks for what video games have become today. The idea of living a fantasy life full of questing is still being developed in different ways but it all started with interactive narratives such as Dungeons and Dragons. Even though the way in which we engage with interactive narratives has vastly changed, the key principals have stayed the same. Comparing D&D to a game like Skyrim will quickly reveal similarities; the player begins a quest by creating their character and follows a loose path that they are encouraged to manipulate, all the while gathering resources and acquiring skills.

Quantic Dream have developed movie-like games with deep narratives. Beyond: Two Souls and Heavy Rain could have been made into a book or a film but having them be interactive adds more layers of depth and potential. Many other video games take aspects of the interactive narrative medium to enhance stories and gameplay; and with the technology of VR available, soon enough we will be able to fully live another life.

References:

https://en.wikipedia.org/wiki/The_Walking_Dead_(video_game)

Click to access aimag.pdf

http://dnd.wizards.com/dungeons-and-dragons/what-dd/history/history-forty-years-adventure

> 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].

A) Select one example to outline the key concepts of the interactive narrative genre?

The genre of Interactive narratives attempt to allow players or users to immerse themselves within a story and influence decisions made, as well as the overall ending of said storyline. Interactive narratives are not solely present within the gaming industry, but rather originally appeared within literature.  An interactive narrative requires a “coherent narrative…in which all events build off prior events until a conclusion is reached” (Mark O. Riedl and Vadim Bulitko, 2013)

As (Flanagan and Arble, 1998) stated, “The computer is having a profound effect on our tales, helping us to create morphing, sprawling stories with infinite possibilities”. Both authors believed that with the rise of technology could come improvements with interactive narratives. This can be witnessed in modern gaming, games with compelling interactive narratives hold within them gripping and vast storylines dependent on players actions. The Walking dead for instance attempts to immerse players into the game series by placing them into “dramatic, and emotional, scenarios” (Lee, 2014) where the decisions of the player have a permanent affect on the whole story. For instance deciding if a person should live or die. These components of immersion and great storyline are key concepts of the interactive narrative genre.

On the other hand it can be argued that “Interaction and narration are key concepts in interactive narrative design”,(Glyean ,1995), a view shared by Mikael B. Skov (2002), who argued that designers need to address what type of narrative should be presented, and how such a narrative should be interacted with.

(250 words)

(source:   http://mac.appstorm.net/general/the-walking-dead-400-days-back-from-the-dead/)

B) Does the interactive narrative still have a role to play in video games today? Give exemplary examples.

Interactive narratives gaming have been available to users as early as the 1970’s, such as in Dungeons and Dragons, and through text based adventure games and literature. In my opinion, the genre still stands to play a role in the video game industry today. Interactive narratives have developed from video games such as “colossal cave adventure”, and have improved and become modernised to remain relevant in the gaming community.

Many games today involve some degree of decision making which effect the overall storyline to games. The company Bethesda for instance allows players to chose between dialogue options and actions which overall effect the storyline which is presented to them. Fallout New Vegas for instance (one of my favourite games) allows the protagonist to chose between large factions to fight for dominance over the Mojave Wasteland. The post apocalyptic setting is riddled with numerous storylines and directions for the player to go. Characters can be spared or permanently killed off, and certain quests only become available depended on the decisions of the player previously. This creates a degree of replay ability for gamers as they can replay the story from another perspective (to some extent of course as the start is almost always the same for certain titles of Bethesdas’ games),

(source:  http://store.steampowered.com/sub/13435/)

These interesting and vast storylines and narratives are obviously successful nowadays, as interactive narratives are featured in triple A rated games, which usually sell numerous copies. The example of fallout New Vegas for instance, sold over 2 million copies in 10 weeks.(Anon, 2017).

Clearly Interactive Narratives are here to stay.

(254 Words)

Reference List:

Mark O. Riedl and Vadim Bulitko, (2013). Interactive Narrative: An Intelligent Systems Approach. Ai Magazine. [Online] Available from: https://www.cc.gatech.edu/~riedl/pubs/aimag.pdf [Accessed 24 October]

Mary Flanagan and Francine Arble, (1998). Interactive Narrative: Stepping Into Our Own Stories. Human factors in computer systems, pg 88- 89. [Online] Available from: http://delivery.acm.org/10.1145/290000/286543/p88-clanton.pdf?ip=152.78.186.214&id=286543&acc=ACTIVE%20SERVICE&key=BF07A2EE685417C5%2EA13CBF7F1C3C7DF4%2E4D4702B0C3E38B35%2E4D4702B0C3E38B35&CFID=835542564&CFTOKEN=51036087&__acm__=1512052671_a7bad4017b8172a9aa44540e5077ed88 [Accessed 24 October]

Lee, (2014) The Walking Dead Season 3 Announced. [Online] Available from: http://www.wtfgamersonly.com/the-walking-dead-season-3-announced/ .[Accessed 24 October]

Gaylean, T. A, (1995). Narrative Guidance of Interactivity. PhD Thesis. Massachusetts Institute of Technology.

Mikael B. Skov, (2002).  Design of Interactive Narratives: Concepts, Methods, and Architectures. Allaborh University. [Online] Available from: http://people.cs.aau.dk/~dubois/papers/Skov-Thesis.pdf [Accessed 24 October]

Anon, (2017). Fallout: New Vegas. [Online] Available from: http://www.vgchartz.com/game/33663/fallout-new-vegas/Global/ [Accessed 24 October]