moral choices

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"Beyond Tomorrow" is an interactive text-based science fiction game made in Twine. The player assumes control of a wealthy business empire whose goal is to lead a successful expansion into space. The story revolves around the different choices and consequences one must face when encountering new planets and worlds. The game includes four unique planets that each has its different expansion possibilities and conflicts. The style of play is entirely up to the player and allows for either a violent or peaceful playthrough, as well as a combination of the two. Some of the themes explored in the game are power, imperialism, law and order, and warfare. (Source: Author's description)

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Beyond Tomorrow opening passage
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Space exploration passage showing four different planets the player can explore
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Warfare passage describing a conflict on one of the planets
Technical notes

The game uses the network hypertext structure and includes loop passages to avoid a complete restart after finishing one storyline. Several passages also use a 'either' function that allows them to have different outcomes.

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Red Dead Redemption is a Western action-adventure video game developed by Rockstar San Diego and published by Rockstar Games. It was released for PlayStation 3 and Xbox 360 consoles in May 2010. It is the second title in the Red Dead franchise, after 2004's Red Dead Revolver. The game, set during the decline of the American Frontier in the year 1911, follows John Marston, a former outlaw whose wife and son are taken hostage by the government in ransom for his services as a hired gun. Having no other choice, Marston sets out to bring the three members of his former gang to justice.

The game is played from a third-person perspective in an open world environment, allowing the player to interact with the game world at their leisure. The player can travel the virtual world, a fictionalized version of the Western United States and Mexico, primarily by horseback and on foot. Gunfights emphasize a gunslinger gameplay mechanic called "Dead Eye" that allows players to mark multiple shooting targets on enemies in slow motion. The game makes use of a morality system, by which the player's actions in the game affect their character's levels of honor and fame and how other characters respond to the player

(Source: Wikipedia)

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By Eivind Farestveit, 12 March, 2015
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Abstract (in English)

Video games have a long tradition of including elements of moral decision making within their ludic and narrative structures. While the success of these endeavours has been mixed, the systems used to express moral choices within a game have grown more popular. However, these morality systems are inherently restricted and limited by ludic and business considerations. Coupled to this is the concept of the “magic circle” in which games are considered to be morally discontinuous spaces where the normal rules of what actions are and are not permitted are different. Moral choices then become flattened down into mere narrative flavouring rather than a reflection of an individual’s ethical makeup. Moral choices within games are thus shallow and lack the ability to truly offer us an opportunity to reflect on the actions we have taken. Rather than offering insight, they instead cheapen and simplify nuanced topics and concepts.

However, several games released in the past few years have made an effort to break free of this mould by explicitly externalising moral choices. In this paper we discuss two of these games: Pope’s 2013 title Papers, Please and Yager Development’s 2012 title Spec Ops: The Line . We discuss the way in which these games break out of the traditional convention of video game moral decision making, and how they create opportunities for the player to reflect on the deeper meaning of their in-game actions. We discuss the narrative and ludic elements of these titles, and how they interleave to create a gaming experience that allows for a meta-textual appreciation outside of the bounds of the text itself.

While experimentation with narrative and mechanics is sometimes considered the exclusive purview of the “indie scene,” these two games represent titles at both the professional and indie ends of the development spectrum. We argue thus that “mainstream” titles need not eschew genuine, engaging moral choices

(Source: Author's Description)

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Description (in original language)

Dage med Diam eller Livet om natten møder læseren forfatteren Alian Sandme. Alian har en kæreste, Diam, som han kun kan se i hemmelighed, fordi de begge er gift. Allerede efter det første korte kapitel, S, hvor Alian sidder og skriver på en roman, stilles læseren over for et valg: Skal han køre hen til togstationen og mødes med Diam, eller skal han blive hjemme? Svend Åge Madsens hypertekst-roman afspejler på denne måde livet, hvor man ofte står over for valget mellem to muligheder, der gensidigt udelukker hinanden.

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Description (in English)

Hors Catégorie is an interactive fiction by Chris Calabro and David Benin developed in 2007.

It is possible to play it on almost every system, even on Smartphone.

The used Software is a z-machine Interpreter, which is a game’s requirement as the player needs it in order to emulate an Infocom machine.

It takes place entirely in a single hotel room, with several subrooms. Unlike many adventure-like interactive fictions, location, possessions, and strength are not the main obstacles of this game, but rather player knowledge and moral choices. The point is to explore the inner conflict of the protagonist and shape his character. This is why the typical presence of interactive fictions’ obstacles makes Hors Catégorie innovative and different because here they are the player moral choices.

The title of the game comes from the 'out of category' classification of difficult climbs in the Tour de France, where the game is set. The protagonist is a rider in the Tour, just waking, getting ready to take on the day's current stage.

How to play:

Like most interactive fiction, the game is played in rounds, each consisting of typing an English-language command at a prompt and getting a response, telling you how the state of the world has changed. Only commands that the parser allows cause game time to pass. By the way, not all the commands are accepted by the parser. There are two reasons why: the command has not been understood or it cannot be allowed by the rules of the game. It is up to the reader to figure out what is allowed or not. The use of imagination is a mandatory requirement.

The game ends when the protagonist's charater is sufficiently determined and so his behavior and attitude has reached a high level of determination.

(Source: Author's description)

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