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Description (in English)

Tenure Track is a postmodernist critique of 21st-century academia in the form of a simulation game. In the vein of satirical games like Cow Clicker—a product of “carpentry,” or a strategy for creating philosophical, creative work, according to its designer Ian Bogost—Tenure Track also borrows game mechanics from popular puzzle simulators like Papers, Please, merging the finite potentiality of a critical text with the lightheartedness and non-prescriptiveness of play. Additionally, the simulation game as a genre harkens back to philosophical toys of the 19th century, such as the thaumatrope, the purpose of which was demystification through wonderment. The proposed poster would include imagery from the game, as well as links to interactive components (gameplay footage, demos) and brief descriptions of the mechanics and concept of the game. 

Developed in Unity for desktop and VR over the past year, Tenure Track visually consists of a 3D re-creation of a nondescript office, viewed from a first-person perspective, with every object in the space being manipulable. The goal of the game is to achieve tenure by completing research, grading papers, and communicating with students and administrators. Much of this “work” is mediated through a variety of simulated digital platforms, which are accessed via a desktop monitor and a mobile phone. The centering of platforms underscores the degree to which they are essential to what constitutes labor. Post-pandemic, this can be read as referencing a potentially obsolete “platform”: the physical office. 

As the player performs a litany of menial tasks over the course of a series of seconds-long days, they are interrupted constantly by notifications and knocks at the door. Over time, this produces a simulacrum of the frantic yet mundane administrative role many modern-day academics find themselves “playing” as they strive for the promised land of tenure. The sequence of predefined yet somewhat open-ended steps in the tenure process lends itself to this kind of gamification, which resists the interpretation of a prescribed process as fair or logical. The many small but cumulatively important decisions players make imparts a feeling of decision fatigue common to most knowledge work, playing with the assumption many outside of academe have of the professoriate as belonging to an exceptional, noble profession. What is not known until the game’s conclusion is that, once a player reaches one of several possible “endings,” the days continue to loop continuously. 

While the game rewards literacy of both games and academe by subverting the former and reifying the latter, arguably the most satisfying interactions are the ones that are, in reality, the most disruptive (dropping the mobile phone and cracking the screen) or least salient (disposing of empty beverage containers in a recycling bin). Those who misunderstand the tenure track job as a stairway to heaven, or even as fundamentally different from other types of white-collar jobs, stand to see it in an uncanny light. 

 

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Description (in English)

What if a machine is smart enough to notice that it does dull work? Dustin is an interactive smartphone story which encourages the reader to think about the moral implications of smart machines. The main character is the smart vacuum cleaner Dustin. Dustin does not feel happy with his rol as cleaner and tries to escape his faith. The reader activitely participates through small interactions, game-play, and decisions. Would you like to be friends with Dustin or do you see him merely as a machine? Would you give him a break or do you not have sympathy for him when he wants to take a rest?

Description (in original language)

Wat als een apparaat slim genoeg is om te merken dat het dom werk doet? Dustin is een interactief verhaal op je smartphone dat je aan het denken zet over de morele implicaties van steeds slimmer wordende apparaten. Hoofdpersonage is de slimme stofzuiger Dustin die zich niet senang voelt in zijn dienende rol en zoekt naar manieren om zijn lot te beïnvloeden. Als gebruiker heb je een actieve rol in het verhaal en kun je het voortstuwen door middel van kleine interacties, game-play en keuzemomenten. Wil je vrienden worden met Dustin of zie je hem puur als apparaat? Gun je hem zijn rust of toon je geen begrip als hij geen zin heeft om aan de slag te gaan?

Description in original language
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By Kristina Igliukaite, 11 May, 2020
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978-0-262-08356-0
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69-80
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MIT
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Abstract (in English)

James Wallis uses genre as the fulcrum for balancing game rules and narrative structure in story-telling games, which he differentiates from RPGs through their emphasis on the creation of narrative over character development.

The source is the essay-review on www.electronicbookreview.com written by James Wallis.

Pull Quotes

"In the ongoing debates about storytelling and narrative in games, the various commentators often overlook a key point: even in the most cutting-edge examples of the state of the art, it is not the players who tell the story, it is the game. Whether computer games with a narrative element, board games, card games, or face-to-face role-playing games, the essential plot and structure of the narrative is predetermined before the game begins, and cannot be altered."

"Human beings like stories. Our brains have a natural affinity not only for enjoying narratives and learning from them, but also for creating them. In the same way that your mind sees an abstract pattern and resolves it into a face, your imagination sees a pattern of events and resolves it into a story."

"the game's mechanics must take into consideration the rules of the genre that it is trying to create: not just the relevant icons and tropes, but the nature of a story from that genre. A fairy tale has a very different structure and set of requirements than a horror story or a soap opera, and a game must work to replicate that. "

"In most games, the structure is simply the way the game is played. In story-making games, it is also the principal way that the narrative shape of the story is formed (...)."

"Structure is not the same thing as rules. (...) That's how the game plays. It's not how the game works."

"The key to a successful story-making game, at least in the ones that have been released so far, is simplicity of design. (...) it does mean that rules have to be integrated with structure and genre to form a coherent package. I am a self-confessed proponent of "elegance through simplicity" in game design, and I realize that this doesn't fit every taste, or every style of game. "

All quotes were directly pulled out of the essay.

By Kristina Igliukaite, 11 May, 2020
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978-0-262-08356-0
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67-68
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MIT
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Abstract (in English)

Paul Czege explains that he aimed for My Life with Master to be an engine for story creation rather than just another variation on the traditional role-playing game system.

The source is the essay-review on www.electronicbookreview.com written by Paul Czege.

Pull Quotes

"Telling stories about your experiences is a process of selecting, organizing, and presenting a relevant subset of the superset of all possible information you could include in the story."

"I began to play, widely, regularly, and experimentally, mostly free and self-published games. And from this I began to understand how powerful role-playing experiences that produce story with less noise could be delivered by game rules that consciously mediate play as an endeavor of collaborative authorship."

All quotes were directly pulled out of the essay.

By Ole Samdal, 24 November, 2019
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Captivating Choices: Reconciling Agency and Immersion was a presentation held at the 2012 ELO conference under the category: Games, Algorithms and Processes

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Culprit is a choose-your-own adventure screen-based game created using the interactive documentary software Klynt and inspired by the resurgence of interest in a genre that elit has seen as unsophisticated but is currently enjoying an uptake in popularity as interactivity goes mainstream both on handheld devices and livingroom televisions. A multi-modal murder mystery with five storypaths that intersect to provide for many more distinct readings, Culprit is set in a contemporary, urban North American city and anyone could be the murderer.

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In November 2018, Studio Tender Claws launched Tendar, the first long-form, augmented reality game to merge AR technology with human sentiment analysis. Gameplay centers around an artificially-intelligent pet fish that responds to the player’s actions, emotions, and physical surroundings via a combination of generative and hand-scripted dialog. The fish recognizes over 100 user emotions and 200 physical objects as it navigates eight distinct developmental stages. As a small independent game studio, our challenge was to generate and trigger engaging dialog for the vast combinatoric writing surface that the game presented, all while dynamically adjusting tone, affect, and content according to player actions and the fish’s emotional state.

To address this challenge, we adopted Dialogic, an open-source scripting language and toolkit for interactive, generative dialog. Dialogic, authored by panellist Daniel Howe, integrates generative and scripted content, allowing NPCs to respond organically to non-sequential input from human users. Because the system is open-source and under active development, we were able to adapt it to our needs as they emerged throughout the game’s development. The system proved both versatile enough to be used by our mixed-background writing team, and performant enough for runtime execution in our Unity/Android environment.

This panel brings together Samantha Gorman, co-founder of Tender Claws and lead writer for the project; Ian Hatcher, a member of the core writing team; and Daniel Howe, the creator of Dialogic. Together we will discuss how iterative design and close collaboration between the various teams helped us achieve project goals for both Tendar and Dialogic. We will also present the strategies, processes, and tools we found to be most useful in addressing the vast combinatoric space that the project presented.

Description (in English)

“I’m on the hard drive. When the gift came. Both disk and memory disappear”. Kulaktan kulağa, Chinese whispers, or Arabic telephone reveals mis(machine)translated stories of found images through tangible interaction. The installation uses what is (at first glance) just a box of old photographs to examine the western-centric lens of the internet by humanising machine translation errors. The artist collected old photographs from London’s flea markets, and wrote short stories for each photograph in her non-native English. Using an online machine translation tool, she machine-translated the stories into her native Turkish, and into other ‘foreign-looking’ languages such as Chinese and Arabic. The garbled outcome then is machine-translated back to English, carrying its inaccurate interpretation alongside. The stories and photographs are integrated into an interactive installation that invites readers to reveal mistranslated stories through tangible interaction. The installation invites spectators to pick a photograph from an old box and explore its interpretation. The interpretation becomes garbled along the way, until it significantly deviates from the initial meaning due to the inaccurate machine translations of non-Indo-European languages. By acting as a mediator of the interpretation, the reader is invited to reflect on the displayed errors, and the reader’s own position within its commonality. The name of the artwork is an analogy to question socially accepted neologisms for what is foreign-looking or foreign-sounding to us. The title refers to the name of a children’s game in Turkish, Kulaktan Kulağa, in which a message is passed through a line of players through whisper. The name translates from Turkish as ‘From Ear to Ear’, literally describing the act of whispering and emphasising the act as the centre of the game. The title of the work is completed by two Western naming for the same children’s game, which emphasise the foreign-sounding of the garbled messages as the core of the game.

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Description (in English)

The Walking Dead: The Final Season is an episodic adventure video game developed by Telltale Games and later Skybound Games, and the fourth and final main game in The Walking Dead video game series, based on the comic book series of the same name. Taking place some years after The Walking Dead: A New Frontier, the game focuses on Clementine's efforts to raise young Alvin Jr., AJ, in the post-apocalyptic world, coming to join with a group of troubled teenagers surviving out of their former boarding school. Their path leads them to encounter a hostile group of raiders led by a figure from Clementine's past.

The game represents the first major release by Telltale after a major restructuring; it was aimed to return to themes and elements from the first season, and expected to be the concluding story for Clementine. The game was anticipated to be released over four episodes, with the first episode released on August 14, 2018, for Microsoft Windows, PlayStation 4, Xbox One and Nintendo Switch. However, due to the sudden closure of Telltale Games on September 21, 2018, the last two episodes were overseen by Skybound Entertainment, the production company of The Walking Dead comic creator Robert Kirkman, using as many of the former Telltale development team as possible, as Kirkman had felt it necessary to properly complete Clementine's story.

(Source: Wikipedia)

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Description (in English)

The Walking Dead: A New Frontier is an episodic adventure video game based on The Walking Dead comic book series developed by Telltale Games. It is Telltale's third season of its The Walking Dead series, with the first two episodes released on December 20, 2016, and a retail season pass disc edition released on February 7, 2017. The game employs the same narrative structure as the past seasons, where player choice in one episode will have a permanent impact on future story elements. The player choices recorded in save files from the first two seasons and the additional episode "400 Days" carry over into the third season.[8] Clementine(voiced by Melissa Hutchison), who was the player's companion during the first season and the player-character in season two returns as a player-character along with another player-character, Javier "Javi" Garcia (voiced by Jeff Schine).

The game takes place in the same fictional world as the comic, with the zombie apocalypse having occurred. The main characters of the game are original characters; however, due to time skips in season two and between seasons two and three, the timeline is caught up to where the comics are.

(Source: Wikipedia)

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