Tag Archives: Jessica Murray

Week 9 – Reflection

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I have found this module very long, rich in content and interesting. Having theoretical lectures and weekly essay writings is a great way to anchor my mind and realise that this course is not all about creating – there is a whole other world behind the making. I have found that each question has taken me hours to write as the research that goes into it, I feel, has to be quite thorough, despite only having to write 500 words. As much as it sometimes irritates me to sit there and go through tons of information then have to pick what is necessary and condense it to 500 words, I have found it extremely interesting. The hours have been worth it, especially in questions 4 (History of Indie), 6 (Artificial Intelligence) and 8 (Ownership).

Although I should already be doing this, researching into indie designers/developers has been motivating and slightly overwhelming in terms of he struggles they face and the amount of work they do. As mentioned in the blog entry, designers such as Jason Roher and his handful f varied games has inspired my thinking greatly. I found it fascinating how he has stripped down the elements which form a game and expanded upon those individual elements, exploring each one in great detail whether it be a game surrounding pure narrative or one which focuses on playing with someone, for example.  He has not made a game for the sake of it or for it to become big, but to explain elements of his life in a unique way whilst evoking emotion and thought within the player – that is something not every game does (Wellesley.edu, 2016). It has shown me how to take a different, slightly-abstract approach to this course. I have translated aspects of his approach to games and have started doing research mind maps for the Games Design Practice module.

Jessica Murray Sketchbook

Jessica Murray Sketchbook

As seen in the images, I have taken keywords and explored each one of them further, leading me to finding something unexpectedly useful to which I then, like before, create a research mind map for etc. This process has caused me to continually learn and see new things or see old things in new ways. This, i know already, will benefit me massively during this course.

This excitement for constant discovery is what makes questions 6 and 8 interesting for me too. AI is something which is necessary within the right sort of game genre (and seeing as one of my favourites is open-world RPGs, I found it especially intriguing). It has made me consider theme and story lines more and questioning the ways in which I could make things interact with one another and not necessarily in the obvious player-NPC way. As AI is more computer science, I think I will sort out resources (for dummies) to better my understanding in that field. Things like that are completely foreign to me and, along with question 5 on HCI (which I hated), it has highlighted this issue so I will go about finding ways to understand it better. Question 8 was fun as it was not about games, which sounds weird, but it felt like I was actually learning something “adult” – it is an immature way to put it but understanding the legal and business side of the Games industry is incredibly useful. I do hope to have more lectures like that in the future.

The difficulties of this module are mainly found in my own faults. Missing lectures for one is a massive no-no as it is such tedious work having to sit and listen to a two hour lecture in my own time when I could have turned up and got it all out of the way there and then. As well as this, you do not realise the extent of how easier it is completing the questions weekly instead of doing them all a few days before hand-in. This is definitely the biggest, personal challenge that this module has made apparent for me and definitely something I will be working on.

Reference

 

Wellesley.edu. (2016). The Game Worlds of Jason Rohrer | Wellesley College. [online] Available at: https://www.wellesley.edu/davismuseum/whats-on/past/node/79126 [Accessed 7 Dec. 2017].

Week 8 – Own

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What do you see as the positives and negatives around copyright?

I do not particularly see any negatives surrounding copyright. I think it is a brilliant idea when it comes to providing people, within the creative industry namely, protection for their work and things they create. An advantage to this is that copyright is implemented as soon as the work is published or put out into the world. This does not mean that the ‘artist/author’ has to have their work published by another organisation – as long as your name and the date of it is evidenced, then copyright automatically applies. However, It does mean that ideas are not covered as the work in question must be tangible, so copyright would apply in the case of an idea if it were written down.

I think where artists/authors, especially amateurs, are concerned, the basic, automatic copyright protection is beneficial as some may be naive to the rules of having their work protected and cases where people may use their work. As seen on the BBC website, it states that, “Copyright is enforceable as a legal right in the courts, so if someone copies the whole or a substantial part of your work without your permission, you may be able to apply to the Court for an injunction (this prevents their continued use of your work). And if you have lost money as a result of this illegal copying then you can also apply for damages or an account of profits (to compensate you for your loss).”(Bbc.co.uk, 2017) I think this is incredibly fair but it still might mean that certain works/ideas need to be patented or trademarked in which this costs money.

 

Is is possible to make anything new?

I think the answer to this question is quite subjective and depends on ones definition and understanding of the word ‘new’. Just like food and fashion and materials, near enough every thing is recycled and this goes for the creative industry too. I think it would be unfair to penalise people for coming across an idea and adapting it in their own way as that is one way how imaginations develop and grow. I think many processes like this lead to new work being generated as, unless it is a direct copy or remains at the same creative ‘stage’ as the adapted piece, then how a it not be new? When we go out to buy a new item of clothing, that item does not just appear in the shop out of nowhere. It is made out of multiple materials, then sent to different stores then we buy it and adapt it to our styles, refreshing the original garment and in a way, making it ‘new’.

I would also consider discoveries as new things having been made. For example, in 2016, four new elements were officially added to the periodic table. (IUPAC | International Union of Pure and Applied Chemistry, 2016) For many years, I have known the periodic table to be what it has been for years with the (slightly ignorant) understanding that all elements have been discovered – it just goes to show that four new ones have been discovered and if something new can come around in science, why can it nt come around within the arts? I think as the human race, or some of it, grows more intelligent and technology advances, we will see currently unthinkable ways in which something can be made or done. But of course until then, I cannot give an example as I am not able to think of the unthinkable. 

Week 6 – Artificial Intelligence

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

I believe emotive modelling should be hugely considered when designing NPCs depending on whether or not the emotion is necessary in terms of interaction with the player. Emotion and behaviour go hand in hand because it closely relates to human interaction which immerses the player on a deeper level. “In most games, AI is about controlling and directing non-player characters to provide a certain level of challenge to the player.”(Stuart, 2016) As a game designer, should you want the player to do a certain thing it helps to have emotion as it can be persuasive. Depending on the feeling of the scenario, if the NPC were to be hostile towards the player, it could force the player to make decisions against the NPC and move in the direction the designer had in mind. It does depend on whether the NPC plays a moderate part in the game, otherwise there could be the minor NPCs getting involved in the main gameplay when it is not necessary for them to do so.

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

Skyrim, alongside a few other well-known Bethesda games, are full of NPCs aiding the player in their quests and overall experience of the game. Players have previously noted how limiting Skyrim’s NPCs have been as there is only so much “conversation” and interaction one can have with such characters. Should two players make the exact same choices, they will receive the exact same outcome, thus making this aspect of AI controlled agents not so individual. However, as of August 2017, a new tool, “built on the Comme il-Faut AI model developed in 2012”, called CiF-CK, was developed by computer scientists to allow NPCs more personal, variable and flexible interactions between themselves and the player. Skyrim was the chosen game to test out the programmes success, in which it proved itself to be popular. “The mod creates greater variability in NPC interactions by allowing them to act on their changing opinions of other NPCs, which are shaped by their interactions with the rest of the NPCs and the player. The original CiF architecture would keep track of NPCs’ feelings but didn’t turn those feelings into action.” (Good, 2017)

(Steamcommunity.com, 2017)

What is interesting is how this tool seems to provide a better experience and a higher player satisfaction then Bethesda’s own ‘Radiant AI’, a system first seen in Oblivion which deals with the NPCs and how they act and react to the world. ” Actors are now somewhat closer to living beings and follow simple schedules, such as “work-eat-sleep,” or react to the environment in a way that was never possible to implement in Morrowind…In principle this should go some way towards the creation of a more immersive and more believable environment; however, in practice its execution really seems nothing more than regurgitated heuristic-algorithms with a polished marketing name.” (Mullon and Hartman, 2012)

(MobyGames, Bosky, 2006)

I believe programmes such as CiF-CK will and are paving the way to creating more individual and diverse AI controlled agents and I think implementing tools such as CiF-CK will greater the game-play in games such as Skyrim. I also think by thinking beyond the experiences the singular player will go through, paying attention to the universe of the game could lead to more avenues in which the player and AI can interact, creating further individual gaming experiences.

References

Bosky, T. (2006). The Elder Scrolls IV: Oblivion Screenshots for Windows – MobyGames. [online] MobyGames. Available at: http://www.mobygames.com/game/windows/elder-scrolls-iv-oblivion/screenshots/gameShotId,158751/ [Accessed 6 Dec. 2017].

Good, O. (2017). Skyrim mod makes NPC interactions less scripted, more Sims-like. [online] Polygon. Available at: https://www.polygon.com/2017/8/5/16101700/social-skyrim-mod-ai-research [Accessed 6 Dec. 2017].

Mullon, R. and Hartman, M. (2012). Radiant AI and Radiant Story in the Elder Scrolls V. [online] Elder Scrolls @ Altered Gamer. Available at: http://elder-scrolls.alteredgamer.com/tes-5-skyrim/116302-whats-new-in-skyrim-new-radiant-ai-and-radiant-story/ [Accessed 6 Dec. 2017].

Steamcommunity.com. (2017). Steam Workshop :: Social NPCs. [online] Available at: https://steamcommunity.com/sharedfiles/filedetails/?id=751622677 [Accessed 6 Dec. 2017].

Stuart, K. (2016). Video games where people matter? The strange future of emotional AI. [online] the Guardian. Available at: https://www.theguardian.com/technology/2016/oct/12/video-game-characters-emotional-ai-developers [Accessed 5 Dec. 2017].

 

Bibliography

Alderman, N. (2017). Why can’t we talk to the characters in games? Careful what you wish for…. [online] the Guardian. Available at: https://www.theguardian.com/technology/2016/jan/11/games-computers-conversation-characters [Accessed 5 Dec. 2017].

Bosky, T. (2006). The Elder Scrolls IV: Oblivion Screenshots for Windows – MobyGames. [online] MobyGames. Available at: http://www.mobygames.com/game/windows/elder-scrolls-iv-oblivion/screenshots/gameShotId,158751/ [Accessed 6 Dec. 2017].

En.uesp.net. (2017). Skyrim:NPCs – The Unofficial Elder Scrolls Pages (UESP). [online] Available at: http://en.uesp.net/wiki/Skyrim:NPCs [Accessed 6 Dec. 2017].

Frome, J. (2017). Eight Ways Videogames Generate Emotion. [online] Digra.org. Available at: http://www.digra.org/wp-content/uploads/digital-library/07311.25139.pdf [Accessed 5 Dec. 2017].

Good, O. (2017). Skyrim mod makes NPC interactions less scripted, more Sims-like. [online] Polygon. Available at: https://www.polygon.com/2017/8/5/16101700/social-skyrim-mod-ai-research [Accessed 6 Dec. 2017].

Guimaraes, M., Santos, P. and Jhala, A. (2017). CiF-CK: An Architecture for Social NPCs inCommercial Games. [ebook] IEEE. Available at: http://ieeexplore.ieee.org/document/8080425/?reload=true [Accessed 6 Dec. 2017].

Jhala, A. and Shipman, M. (2017). Tool Increases Adaptability, Autonomy of Skyrim NPCs. [online] News.ncsu.edu. Available at: https://news.ncsu.edu/2017/08/skyrim-npc-tool-2017/ [Accessed 6 Dec. 2017].

Mullon, R. and Hartman, M. (2012). Radiant AI and Radiant Story in the Elder Scrolls V. [online] Elder Scrolls @ Altered Gamer. Available at: http://elder-scrolls.alteredgamer.com/tes-5-skyrim/116302-whats-new-in-skyrim-new-radiant-ai-and-radiant-story/ [Accessed 6 Dec. 2017].

reddit. (2013). Skyrim – What happened to Radiant AI? • r/truegaming. [online] Available at: https://www.reddit.com/r/truegaming/comments/1ial3z/skyrim_what_happened_to_radiant_ai/ [Accessed 6 Dec. 2017].

Reith, G. (2017). 10 Most Memorable AI Characters In Video Games « GamingBolt.com: Video Game News, Reviews, Previews and Blog. [online] Gamingbolt.com. Available at: https://gamingbolt.com/10-most-memorable-ai-characters-in-video-games?utm_source=zergnet.com&utm_medium=referral&utm_campaign=zergnet_30705 [Accessed 5 Dec. 2017].

Steamcommunity.com. (2017). Steam Workshop :: Social NPCs. [online] Available at: https://steamcommunity.com/sharedfiles/filedetails/?id=751622677 [Accessed 6 Dec. 2017].

Stuart, K. (2016). Video games where people matter? The strange future of emotional AI. [online] the Guardian. Available at: https://www.theguardian.com/technology/2016/oct/12/video-game-characters-emotional-ai-developers [Accessed 5 Dec. 2017].

Week 4 – The History of Indie

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

Jason Rohrer, an American game designer and writer, has so far developed eleven games; the twelfth coming soon. My reason for choosing to research this designer was by me coming across his sixth game, Sleep Is Death. This is a two-player storytelling game. The first player, the storyteller, “… build(s) a world using art they’ve drawn themselves or stock assets that came with the game…” and the second player, “…is the lead actor in an improvised stage-play the two parties are now going to put on together. The actor makes a decision, to speak to someone, hit someone, walk somewhere, or anything else they can imagine and type, and the storyteller then has to react by moving objects, drawing objects, deploying new music, and so on.” (Smith, 2016) Similar to last week’s questions on interactive narrative, the free-roam of story and imagination highly peaks my interest and classes this as a unique game for me. Rohrer likes to tap into the emotions and minds of his players; evoking everyday feelings and thoughts in cleverly, digital forms in order to aid player exploration into these everyday elements. His mindset and beliefs go against the large game companies for they produce “soulless” games and this is clearly evident in his emotionally-artistic and philosophical games. I do love outstanding graphics and intense game-play that a lot of big games have, but a good story-line is key in a game being considered a great game. This also means that games, as wonderfully demonstrated and proven by Rohrer, do not need outstanding graphics and intense game-play – brilliant designers like Rohrer are able to make people like me deeply appreciate games like Sleep Is Death or Passage as he solidifies the connection between game and player. In SID, there is nothing more connection-inducing as a game world and story created between two people and that is one beautiful aspect of the mind of Rohrer.

Richard Foulser, 2008

B) Discuss an application/example of the indie game concept outside of what we consider the traditional video games industry.

One example that clearly breaks indie games away from the traditional video games industry is its ability to allow designers and artists a platform to express themselves and produce games, without having to be a part of/sponsored by big game companies. Statistics have shown that 2017 has been a big year in indie game releases, that being 6434 games released on Steam so far in 2017 compared to the 5033 game releases on Steam in 2016 (SteamSpy, 2017). With the stereotypical two/three person team, there is a greater amount of creative freedom as opposed to the hundreds, even thousands, of people working at Ubisoft, for example. This freedom allows for indie games and designers, such as ConcernedApe’s with “Stardew Valley” and 2D Boy’s with “World of Goo”, to produce unique, fun, creative and artistic games, with personal love and care poured into every detail. Similar (sort of) to parenthood, creating and birthing a game takes years of nurture, attention and patience and its this that divides it from the traditional video games industry. Indie games have the power to flow with the times and the ever-changing thoughts of their designers unlike the limited and stifled workings of big titled games. This break from the traditional industry does not go without saying it is a lot more difficult to gather a massive network of followers and recognition but the beauty beats that of which the traditional industry does not always possess: soul.

 

References

Galyonkin, S. (2017). GAMES RELEASED IN PREVIOUS MONTHS. [online] Steamspy.com. Available at: http://steamspy.com/year/ [Accessed 15 Nov. 2017].

Smith, G. (2016). Have You Played… Sleep Is Death?. [online] Rock Paper Shotgun. Available at: https://www.rockpapershotgun.com/2016/08/09/have-you-played-sleep-is-death/#more-385509 [Accessed 15 Nov. 2017].

Bibliographys

Fagone, J. (2008). The Video-Game Programmer Saving Our 21st-Century Souls. [online] Esquire. Available at: http://www.esquire.com/news-politics/a5303/future-of-video-game-design-1208/ [Accessed 15 Nov. 2017].

Galyonkin, S. (2017). GAMES RELEASED IN PREVIOUS MONTHS. [online] Steamspy.com. Available at: http://steamspy.com/year/ [Accessed 15 Nov. 2017].

Graft, K. (2016). Q&A: The state of the indie game industry from the view of an indie publisher. [online] Gamasutra.com. Available at: https://www.gamasutra.com/view/news/277942/QA_The_state_of_the_indie_game_industry_from_the_view_of_an_indie_publisher.php [Accessed 15 Nov. 2017].

Morris, A. (2017). How Indie Games Have Revitalized the Video Game Industry | Page 2 of 3 | AllBusiness.com. [online] AllBusiness.com. Available at: https://www.allbusiness.com/indie-games-video-game-industry-101485-1.html/2 [Accessed 15 Nov. 2017].

Rohrer, J. (2010). Sleep Is Death (Geisterfahrer). [online] Sleepisdeath.net. Available at: http://sleepisdeath.net/ [Accessed 15 Nov. 2017].

Rohrer, J. (2017). Jason Rohrer. [online] Hcsoftware.sourceforge.net. Available at: http://hcsoftware.sourceforge.net/jason-rohrer/ [Accessed 15 Nov. 2017].

Sinclair, B. (2017). A different kind of indiepocalypse. [online] GamesIndustry.biz. Available at: http://www.gamesindustry.biz/articles/2017-10-31-a-different-kind-of-indiepocalypse [Accessed 15 Nov. 2017].

Smith, G. (2016). Have You Played… Sleep Is Death?. [online] Rock Paper Shotgun. Available at: https://www.rockpapershotgun.com/2016/08/09/have-you-played-sleep-is-death/#more-385509 [Accessed 15 Nov. 2017].

Stuart, K. (2016). The digital apocalypse: how the games industry is rising again. [online] the Guardian. Available at: https://www.theguardian.com/technology/2016/may/17/video-game-industry-changing-virtual-studios [Accessed 15 Nov. 2017].

Worldofgoo.com. (2017). World of Goo. [online] Available at: https://worldofgoo.com/ [Accessed 15 Nov. 2017].

Week 3 – Skill, Stamina and Luck

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

Interactive narrative can be defined as an experience in which users influence a storyline through the ability of choice. Their actions/choices determine the direction of the story and every choice has a unique set of consequences. This type of narrative, if done right, can be extremely immersive as it puts the user on what seems to be a higher level of “importance” within the world created by the author – their choices can lead to a different outcome for the path supposedly destined (or seemingly so at the time) within that specific world. Unlike real life, interactive narrative carries an element of predetermination and control. Despite the choices you may make, you know the outcome will be one of x amounts within a story and this control is a sweet escape in a gripping, fictional world opposed to the uncertainty real life offers.

(Enemy of Chaos, 2009)

Knowing the gist of this genre, I came across a CYOA book called “Enemy of Chaos” by Leila Johnston. What intrigued me about this book was how, in a cleverly humourous way, it engages the 70s/80s RPG adult and brings them back to a modern version of what once was their actual childhood. “…you’re grown up now, you’ve got bills to worry about and it’s clear your adventuring days are over. Or are they? What if the world needed your dice-rolling skills one last time?…” Taken from the synopsis of the book, I think this quote perfectly examples the essence of this genre as it fulfills the immersion. Having made the targeted audience clear (that being those that grew up in the RPG boom) it entices the reader to engross themselves in fantasy once more but in a more adult way.

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

Interactive narrative games have always existed whether apparent and popular like in the 80s or like a CYOA book found in your local library, they have always been around, digital or not. For a while, it seemed that the majority of modern day games were becoming same-old same-old, such as the endless releases of your CODs, your FIFAs and your GTAs. For a time, many companies in the industry wanted to pump out games for the sake of pumping in the money and as fun as it initially is running around stealing cars and pushing old ladies to the ground, the true essence of a good, unique game was lost. So in order to spice things up and create necessary breaks in the continuous money-pumping machine, clever companies have been recycling styles and genres of games and the implementation of interactive narrative is one of them.

(TellTale Games, “The Walking Dead”, 2012)

A great, current example of this can be seen with games such as Telltale Games’ “The Walking Dead Series”. The player’s choices (through actions and dialogue) can lead to a change in the character’s circumstance, whether or not other characters live or die and the character’s relationships with other characters all the while being executed in a modern, digital and sophisticated art style. The effects of this leads to a more genuine and emotional connection between player, character and story line and it is this deeper connection which is essential in building a relationship between game and consumer. This in turn keeps interactive narrative a current, relevant and beautiful genre which will no doubt always have a place in the games industry.

References

Enemy Of Chaos by Leila Johnston . 2017. Enemy Of Chaos by Leila Johnston . [ONLINE] Available at: https://www.goodreads.com/book/show/6840086-enemy-of-chaos. [Accessed 24 October 2017].

Bibliography

Boing Boing. 2017. Enemy of Chaos: hilarious modern choose-your-own-adventure novel / Boing Boing. [ONLINE] Available at: https://boingboing.net/2009/09/15/enemy-of-chaos-hilar.html. [Accessed 24 October 2017].

Enemy Of Chaos by Leila Johnston . 2017. Enemy Of Chaos by Leila Johnston . [ONLINE] Available at: https://www.goodreads.com/book/show/6840086-enemy-of-chaos. [Accessed 24 October 2017].

5 Games that Redefined Interactive Storytelling | Slide 4. 2017. 5 Games that Redefined Interactive Storytelling | Slide 4. [ONLINE] Available at: https://www.gameskinny.com/hju3x/5-games-that-redefined-interactive-storytelling/4. [Accessed 24 October 2017].

Giant Bomb. 2017. The Walking Dead (Game) – Giant Bomb . [ONLINE] Available at: https://www.giantbomb.com/the-walking-dead/3030-34205/. [Accessed 24 October 2017].

PCMag. 2017. The Top 10 Interactive Games for Story Lovers | PCMag.com. [ONLINE] Available at: https://www.pcmag.com/feature/317795/the-top-10-interactive-games-for-story-lovers. [Accessed 24 October24 October 2017].

The Telegraph. 2017. The best video games of 2017 (so far). [ONLINE] Available at: http://www.telegraph.co.uk/gaming/guides/best-video-games-2017/. [Accessed 24 October 2017].

 

What are they key components of Post Modernism?

Post Modernism challenges the commonplace way in which society operates. It doubts and dismisses “truths” as it aims to address that truths are too limiting to be definitive; everything should be governed by opinions that can offer the most rational explanation. This in turn opens the gateway to confronting traditional authority and politics, aspects of religion and weaken the once highly regarded importance of ideologies. It offers an avenue to subjective morality and how people’s views on what is and is not moral is personal to them. Post Modernism supports liberal ethics which allow social movements such as the LGBT community, pro-ethnic minorities, feminism and pro-environmentalism to thrive above the mainly white, elitist, male-dominated world. Everything can and should be challenged and this attitude/lifestyle can be seen within art, social groups, literature and education to name a few.

© Barbara Kruger Barbara Kruger, Untitled (Your body is a battleground), 1989

© Barbara Kruger
Barbara Kruger, Untitled (Your body is a battleground), 1989

Kruger created this piece for the Women’s March for reproductive freedom in Washington. She visualised Post Modernism in this image as it highlights the issue of women and external forces, such as law and politics, which disable women from making their own choices where it regards their own bodies and ultimately their lives. The following quote, I believe, sums up the image perfectly, “…the words “Your body is a battleground” represent how the fight for choice is different from other political battles. In the case of abortion, the campaign for a woman’s right to choose occurs outside of her body, yet directly affects her. The female body becomes a combat zone that women both struggle for and in.” (Thecrimson.com, 2017).

What games do you think exemplify/display this in there design decisions?

An example of Post Modernism could be interpreted in Davey Wreden’s “The Stanley Parable”, 2013. I found that this game questions the philosophical social controls of life and how we are told what to do and what not to do. Our lives are governed by power and greed and if you do not follow the rules, you are regarded as “wrong” and an “outcast.” In The Stanley Parable, you are challenged to do what you think is best in that specific scenario, giving you freedom of choice and renouncing your free will, something society tries to constraint.

Stanleyparable.com, 2017

Stanleyparable.com, 2017

Bioshock Infinite is another game in which explores near enough every aspect of life that Post Modernism challenges. The game visualises issues such as race, gender and class to induce an understanding into what is wrong with the world and hopefully inspire people to stand up for what they believe to be right. That is why one of the main components of the movement is that the idea of subjective morals need to be rationalised, therefore issues such as racism are irrational and do not count. Having choice and perception-focused game play interacts with the player in a more intimate way, through their mind and their emotions. It allows every choice and critique and opinion to be valid which is something Post Modernism preaches.

BioShock Wiki, 2017

BioShock Wiki, 2017