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Presentation.xml
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<?xml version="1.0" encoding="utf-8"?>
<books>
<book ID="TheatreOfMutation" Title="{{nectar|Staging Mutation}}">
<page>
{{nectar|Staging Mutation:}}
{{W|Theatre of the Oppressed in Caves of Qud}}
{{W|SETS Graduate Symposium 2024}}
ÄÄÄ
{{R|Lou Thompson (she/her)}}
{{r|[email protected] @visceralfield}}
</page>
<page>
{{M|Introducing}} {{W|Caves of Qud}}{{M|...}}
Inspired by:
 New Wave science fantasy literature
 Semitic folklore and mythology
 Pulpy '80s tabletop roleplaying games
 Classic roguelike videogames
</page>
<page>
{{M|Introducing}} {{W|Caves of Qud}}{{M|...}}
Inspired by:
 New Wave science fantasy literature
 Semitic folklore and mythology
 Pulpy '80s tabletop roleplaying games
 Classic roguelike videogames
Roguelike videogames are traditionally characterized by:
 Procedurally generated levels
 Text-based or very minimal graphics
 Simulation-driven turn-based gameplay on a 2D grid
 Playing many distinct runs punctuated by player-character death
</page>
<page>
{{M|Introducing}} {{W|Caves of Qud}}{{M|...}}
Inspired by:
 New Wave science fantasy literature
 Semitic folklore and mythology
 Pulpy '80s tabletop roleplaying games
 Classic roguelike videogames
Roguelike videogames are traditionally characterized by:
 Procedurally generated levels
 Text-based or very minimal graphics
 Simulation-driven turn-based gameplay on a 2D grid
 Playing many distinct runs punctuated by player-character death
{{W|Qud}} {{Y|exemplifies a gap in the contemporary literature on applying theatre theory to videogames}}.
</page>
<page>
{{M|Openness to modification}}
{{W|Qud}} can be extensively modified using {{c|eXtensible Markup Language}} ({{c|XML}}), a kind of text file that looks like this:
{{K|ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ}}
<{{c|books}}>
<{{c|book}} {{B|ID}}="{{W|MyBook}}" {{B|Title}}="{{W|Today's Presentation}}">
<{{c|page}}>
Contents of the first page here...
</{{c|page}}>
<{{c|page}}>
Contents of the second page here...
</{{c|page}}>
<{{c|page}}>
etc...
</{{c|page}}>
</{{c|book}}>
</{{c|books}}>
{{K|ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ}}
</page>
<page>
{{M|Openness to modification}}
{{W|Qud}} is a game already very thematically concerned with mutation.
On top of the huge possibility space of the game's simulation and procedural generation systems, text files can be used to add, remove, or modify:
 Physical objects
 Creatures and their body plans
 Locations
 Social groups and relationships
 Genders and pronouns
 Conversation scripts
 ...etc.
</page>
<page>
{{M|Openness to modification}}
{{W|Qud}} is a game already very thematically concerned with mutation.
On top of the huge possibility space of the game's simulation and procedural generation systems, text files can be used to add, remove, or modify:
 Physical objects
 Creatures and their body plans
 Locations
 Social groups and relationships
 Genders and pronouns
 Conversation scripts
 ...etc.
{{Y|Is there a theoretical framework we can use to make sense of this extreme capacity for mutation in what is still a very narrative and textual videogame, while still retaining any specificity about it as an artwork?}}
</page>
<page>
{{M|Theatre of the Oppressed}}
Augusto Boal: {{Y|Theatre of the Oppressed}}

Gonzalo Frasca: {{Y|Videogames of the Oppressed}}, Simulation versus Narrative
{{M|"simulational media"}}
</page>
<page>
{{M|Theatre of the Oppressed}}
Augusto Boal: {{Y|Theatre of the Oppressed}}

Gonzalo Frasca: {{Y|Videogames of the Oppressed}}, Simulation versus Narrative
{{M|"simulational media"}}
ÉÍͯ {{R|???}}
ÌÍͯ {{O|???}}
{{Y|simulation}} ÍÍÎÍͯ {{W|???}}
ÌÍÍÍÍÍÍÍͯ {{G|instantiated narrative}}
ÈÍͯ {{B|???}}
</page>
<page>
{{M|Theatre of the Oppressed}}
"The forum theater, one of [Boal's] most popular techniques, re-enacts the same play several times by allowing different audience members to get into the stage and take the protagonist's role[…] improvising possible solutions to the problem that is being staged… Forum theater perfectly fits the definition of simulation: it models a system (the oppressive situation) through another system (the play)[…]
- Gonzalo Frasca, Simulation versus Narrative
</page>
<page>
{{M|Theatre of the Oppressed}}
"The forum theater, one of [Boal's] most popular techniques, re-enacts the same play several times by allowing different audience members to get into the stage and take the protagonist's role[…] improvising possible solutions to the problem that is being staged… Forum theater perfectly fits the definition of simulation: it models a system (the oppressive situation) through another system (the play)[…]
Simulations are laboratories for experimentation where user action is not only allowed but also required. Coherence from session to session is simply not a requirement in the game world… {{Y|The key trait of simulational media is that it relies on rules: rules that can be manipulated, accepted, rejected and even contested}}."
- Gonzalo Frasca, Simulation versus Narrative
</page>
<page>
{{M|Example: Commerce}}
</page>
<page>
{{M|Ideology in simulations}}
By purporting to model phenomena like ability, social standing, and trade, the rules that govern this simulation generate meaning. {{Y|Simulation rules are inescapably ideological}}.
Frasca identifies four ideological levels on which simulations operate:
</page>
<page>
{{M|Ideology in simulations}}
By purporting to model phenomena like ability, social standing, and trade, the rules that govern this simulation generate meaning. {{Y|Simulation rules are inescapably ideological}}.
Frasca identifies four ideological levels on which simulations operate:
{{Y|1.}} {{W|Representation}}, such as {{Y|the characteristics of objects and characters}}, which is also found in traditional narrative media;
</page>
<page>
{{M|Ideology in simulations}}
By purporting to model phenomena like ability, social standing, and trade, the rules that govern this simulation generate meaning. {{Y|Simulation rules are inescapably ideological}}.
Frasca identifies four ideological levels on which simulations operate:
{{Y|1.}} {{W|Representation}}, such as {{Y|the characteristics of objects and characters}}, which is also found in traditional narrative media;
{{Y|2.}} {{O|Manipulation rules}}, or {{Y|what the player is able to do}} within the simulation;
</page>
<page>
{{M|Ideology in simulations}}
By purporting to model phenomena like ability, social standing, and trade, the rules that govern this simulation generate meaning. {{Y|Simulation rules are inescapably ideological}}.
Frasca identifies four ideological levels on which simulations operate:
{{Y|1.}} {{W|Representation}}, such as {{Y|the characteristics of objects and characters}}, which is also found in traditional narrative media;
{{Y|2.}} {{O|Manipulation rules}}, or {{Y|what the player is able to do}} within the simulation;
{{Y|3.}} {{R|Goal rules}}, or {{Y|what the player must do in order to win}} the game; and,
</page>
<page>
{{M|Ideology in simulations}}
By purporting to model phenomena like ability, social standing, and trade, the rules that govern this simulation generate meaning. {{Y|Simulation rules are inescapably ideological}}.
Frasca identifies four ideological levels on which simulations operate:
{{Y|1.}} {{W|Representation}}, such as {{Y|the characteristics of objects and characters}}, which is also found in traditional narrative media;
{{Y|2.}} {{O|Manipulation rules}}, or {{Y|what the player is able to do}} within the simulation;
{{Y|3.}} {{R|Goal rules}}, or {{Y|what the player must do in order to win}} the game; and,
{{Y|4.}} {{M|Meta-rules}}, which, by their inclusion in a simulation, state {{Y|how the other rules can be changed}}.
</page>
<page>
{{M|Radical transformation on four levels in}} {{W|Caves of Qud}}
{{M|Meta-rules}}: Modifying the game using XML files.
</page>
<page>
{{M|Radical transformation on four levels in}} {{W|Caves of Qud}}
{{M|Meta-rules}}: Modifying the game using XML files.
{{W|Representation}}: Reshaped creatures, landscapes, and social relations.
</page>
<page>
{{M|Radical transformation on four levels in}} {{W|Caves of Qud}}
{{M|Meta-rules}}: Modifying the game using XML files.
{{W|Representation}}: Reshaped creatures, landscapes, and social relations.
{{O|Manipulation rules}}: Rule systems for body modification such as mutation, cybernetic surgery, infection, amputation, and even cooking!
</page>
<page>
{{M|Radical transformation on four levels in}} {{W|Caves of Qud}}
{{M|Meta-rules}}: Modifying the game using XML files.
{{W|Representation}}: Reshaped creatures, landscapes, and social relations.
{{O|Manipulation rules}}: Rule systems for body modification such as mutation, cybernetic surgery, infection, amputation, and even cooking!
{{R|Goal rules}}: Join a group of mutant tinkerers and overcome a violent cult of purity, normality, and sameness by force.
</page>
<page>
{{M|Conclusion}}
The meta-rule capacity to easily modify {{W|Caves of Qud}} using XML files is not just a pragmatic content authoring tool or player creativity sandbox - it is an {{Y|elaboration on the artistic theme of openness to radical transformation that is only possible in the interactive simulation medium}}.
</page>
<page>
{{M|Conclusion}}
The meta-rule capacity to easily modify {{W|Caves of Qud}} using XML files is not just a pragmatic content authoring tool or player creativity sandbox - it is an {{Y|elaboration on the artistic theme of openness to radical transformation that is only possible in the interactive simulation medium}}.
It is tied together with {{Y|diversity, risky contested autonomy, and body modification through the multiple participatory layers of simulational media}}, in addition to representational and genre elements.
</page>
<page>
{{M|Conclusion}}
The meta-rule capacity to easily modify {{W|Caves of Qud}} using XML files is not just a pragmatic content authoring tool or player creativity sandbox - it is an {{Y|elaboration on the artistic theme of openness to radical transformation that is only possible in the interactive simulation medium}}.
It is tied together with {{Y|diversity, risky contested autonomy, and body modification through the multiple participatory layers of simulational media}}, in addition to representational and genre elements.
The online community that develops and shares modifications has grown around these values of the simulation model. {{Y|Participatory performance is a rehearsal for real social relations}}.
</page>
<page>
{{nectar|GAME OVER}}
{{M|}}
Citations:
 Frasca, Gonzalo. “Simulation versus Narrative: Introduction to Ludology.” {{Y|The Video Game Theory Reader}}, Routledge, 2004.
Thanks to:
 THINC Lab for research support: {{B|uoguelph.ca/arts/dhguelph/thinc}}
 Freehold Games for making Caves of Qud: {{B|freeholdgames.com}}
 @librarianmage for introducing slideshows in Qud: {{B|youtu.be/n6mKigS_71Y}}
Slideshow data files: {{B|https://github.com/visceralfield/gradsymposium2024}}
Contact: {{B|[email protected]}}
</page>
</book>
</books>