Agency and animation: the performance of interactive game characters

As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.

Trauma and the Memory of Politics

Edkins, Jenny, Trauma and the Memory of Politics (Cambridge: Cambridge University Press, 2003), pp.xvii+265 RAE2008

Trash or Treasure? Censorship and the Changing Meanings of the Video Nasties

Egan, K. (2007). Trash or Treasure?: Censorship and the Changing Meanings of the Video Nasties. InsidePopular Film. Manchester: Manchester University Press. RAE2008

Audiences and Receptions of Sexual Violence in Contemporary Cinema

Barkre, M.; Mathijs, E.; Sexton, J.; Egan, K.; Hunter, R. and Selfe, M. (2007). Audiences and Receptions of Sexual Violence in Contemporary Cinema. London: British Board of Film Classification. RAE2008

Skin Color-Based Video Segmentation under Time-Varying Illumination

A novel approach for real-time skin segmentation in video sequences is described. The approach enables reliable skin segmentation despite wide variation in illumination during tracking. An explicit second order Markov model is used to predict evolution of the skin-color (HSV) histogram over time. Histograms are dynamically updated based on feedback from the current segmentation and predictions of the Markov model. The evolution of the skin-color distribution at each frame is parameterized by translation, scaling and rotation in color space. Consequent changes in geometric parameterization of the distribution are propagated by warping and resampling the histogram. The parameters of the discrete-time dynamic Markov model are estimated using Maximum Likelihood Estimation, and also evolve over time. The accuracy of the new dynamic skin color segmentation algorithm is compared to that obtained via a static color model. Segmentation accuracy is evaluated using labeled ground-truth video sequences taken from staged experiments and popular movies. An overall increase in segmentation accuracy of up to 24% is observed in 17 out of 21 test sequences. In all but one case the skin-color classification rates for our system were higher, with background classification rates comparable to those of the static segmentation.

Estimation and Prediction of Evolving Color Distributions for Skin Segmentation Under Varying Illumination

A novel approach for real-time skin segmentation in video sequences is described. The approach enables reliable skin segmentation despite wide variation in illumination during tracking. An explicit second order Markov model is used to predict evolution of the skin color (HSV) histogram over time. Histograms are dynamically updated based on feedback from the current segmentation and based on predictions of the Markov model. The evolution of the skin color distribution at each frame is parameterized by translation, scaling and rotation in color space. Consequent changes in geometric parameterization of the distribution are propagated by warping and re-sampling the histogram. The parameters of the discrete-time dynamic Markov model are estimated using Maximum Likelihood Estimation, and also evolve over time. Quantitative evaluation of the method was conducted on labeled ground-truth video sequences taken from popular movies.

Use of "entertainment" chimpanzees in commercials distorts public perception regarding their conservation status.

Chimpanzees (Pan troglodytes) are often used in movies, commercials and print advertisements with the intention of eliciting a humorous response from audiences. The portrayal of chimpanzees in unnatural, human-like situations may have a negative effect on the public's understanding of their endangered status in the wild while making them appear as suitable pets. Alternatively, media content that elicits a positive emotional response toward chimpanzees may increase the public's commitment to chimpanzee conservation. To test these competing hypotheses, participants (n = 165) watched a series of commercials in an experiment framed as a marketing study. Imbedded within the same series of commercials was one of three chimpanzee videos. Participants either watched 1) a chimpanzee conservation commercial, 2) commercials containing "entertainment" chimpanzees or 3) control footage of the natural behavior of wild chimpanzees. Results from a post-viewing questionnaire reveal that participants who watched the conservation message understood that chimpanzees were endangered and unsuitable as pets at higher levels than those viewing the control footage. Meanwhile participants watching commercials with entertainment chimpanzees showed a decrease in understanding relative to those watching the control footage. In addition, when participants were given the opportunity to donate part of their earnings from the experiment to a conservation charity, donations were least frequent in the group watching commercials with entertainment chimpanzees. Control questions show that participants did not detect the purpose of the study. These results firmly support the hypothesis that use of entertainment chimpanzees in the popular media negatively distorts the public's perception and hinders chimpanzee conservation efforts.

Enseñanza de la noción de límite a través de fractales

Diversas investigaciones han mostrado la dificultad que existe en el proceso de enseñanza aprendizaje del concepto de límite; más aún cuando este presenta diversos obstáculos (geométrico, horror al infinito, relativo a funciones y ligado al símbolo)que deben ser superados en su totalidad para aprender dicho concepto. De esta manera, el presente trabajo pretende mostrar cómo desde un contexto geométrico se hace uso de los fractales, específicamente del fractal “árbol pitagórico”, el cual se propone durante tres sesiones de clase en estudiantes de grado undécimo para ir construyendo la noción de límite. En este sentido, se busca promover un aprendizaje más dinámico y autónomo, donde el estudiante tenga un contacto directo con la construcción de dicho concepto.

The tilt casting of titanium aluminides

TiAl castings are prone to various defects including bubbles entrained during the turbulent filling of moulds. The present research has exploited the principles of the Durville tilt casting technique to develop a novel process in which the Induction Skull Melting (ISM) of TiAl alloys in a vacuum chamber has been combined with controlled tilt pouring to achieve the tranquil transfer of the metal into a hot ceramic shell mould. Practical casting equipment has been developed to evaluate the feasibility of this process in parallel with the development of novel software to simulate and optimize it. The PHYSICA CFD code was used to simulate the filling, heat transfer and solidification during tilt pouring using a number of free surface modelling techniques, including the novel Counter Diffusion Method (CDM). In view of the limited superheat, particular attention was paid to the mould design to minimize heat loss and gas entrainment caused by interaction between the counter-flowing metal and gas streams. The model has been validated against real-time X-ray movies of the tilt casting of aluminium and against TiAl blade castings. Modelling has contributed to designing a mould to promote progressive filling of the casting and has led to the use of a parabolic tilting cycle to balance the competing requirements for rapid filling to minimize the loss of superheat and slow filling minimize the turbulence-induced defects.

Rats, floods and flowers: London's Gothicized nature

AUTHOR's OVERVIEW This chapter attempts a definition of London eco-gothic, beginning with an ecocritical reading of the ubiquitous London rat. Following Dracula, popular London gothic has been overrun, from the blunt horror-schlock of James Herbert’s 1970s Rats series to China Miéville’s King Rat. Maud Ellman’s elegant discussion of the modernist rat as a protean figure associated with a ‘panoply of fears and fetishes’, underlines how the rat has always featured in anti-urban discourse: as part of racist representations of immigration; as an expression of fear of disease and poverty; or through a quasi-supernatural anxiety about their indestructible and illimitable nature which makes them a staple feature of post-apocalyptic landscapes. Even so, the London rat is a rather more mundane manifestation of urban eco-gothic than the ‘city wilderness’ metaphors common to representations of New York or Los Angles as identified by eco-critic Andrew White. London’s gothic noses its way out through cracks in the pavements, grows from seeds in suburban gardens or accumulates through the steady drip of rainwater. However, I will suggest, in texts such as Maggie Gee’s The Flood and P. D. James’ Children of Men, London eco-gothic becomes less local and familiar as it responds to global environmental crisis with more dramatic tales of minatorial nature.

Gazing at Ground Zero: Tourism, Voyeurism and Spectacle

This essay uses the temporary viewing platform at the site of the former World Trade Center to explore our fascination with violence, conflict and disaster. It illustrates how discourses of voyeurism and authenticity promote a desire for sites of horror, and examines how that desire both disrupts and reinforces our prevailing interpretations of global politics. The viewing platform at Ground Zero was initially constructed to manage the thousands of people who traveled to New York in response to the shocking media images of 11 September. However, their desire to escape mediation and touch "the real" had the opposite effect - it transformed Ground Zero into a tourist attraction. Using Ground Zero as a starting point, this essay theorizes discourses of voyeurism and authenticity through the work of Baudrillard, Debord and Bauman in an effort to position the tourist as a significant political subject.

3D Simulations of Surface Harmonic Generation with few-cycle laser pulses

The mechanism of harmonic generation in the interaction of short laser pulses with solid targets holds the promise for the production of intense attosecond pulses. Using the three dimensional code ILLUMINATION we have performed simulations pertaining to an experimentally realizable parameter range by high power laser systems to become available in the near future. The emphasis of the investigation is on the coherent nature of the emission. We studied the influence of the plasma scale length on the harmonic efficiency, angular distribution and the focusability using a post processing scheme in which the far-field of the emission is calculated. It is found that the presence of an extended density profile reduces significantly the transverse coherence length of the emitted XUV light. The different stages of the interaction for two particular cases can be followed with the help of movies.

‘Close as a kiss’: Gyn/Affection in Margaret Atwood’s The Penelopiad

Margaret Atwood’s novella The Penelopiad (2005) seemingly celebrates Penelope’s agency in opposition to Homer’s myth in The Odyssey. However, the twelve murdered maids steal the book to suggest the possibility of what Janice Raymond calls gyn/affection, a female bonding based on the logic of emotion that, in Atwood’s revision, verges on Kristevan abjection, the sinister and the fantastic, and serves a cathartic effect not only in the maids but also in the reader. This essay aims to question the generally accepted empowerment of Atwood’s Penelope and celebrates the murdered maids as the locus of emotion, where marginal aspects of gender and class merge to weave a powerful metaphorical tapestry of popular and traditionally feminized literary genres that, in plunging into and embracing the semiotic realm, ultimately solidify into an eclectic but compact alternative tradition of women’s writing and myth-making.

Imaging the cool stars in the interacting binaries AE Aqr, BV Cen and V426 Oph

It is well known that magnetic activity in late-type stars increases with increasing rotation rate. Using inversion techniques akin to medical imaging, the rotationally broadened profiles from such stars can be used to reconstruct `Doppler images' of the distribution of cool, dark starspots on their stellar surfaces. Interacting binaries, however, contain some of the most rapidly rotating late-type stars known and thus provide important tests of stellar dynamo models. Furthermore, magnetic activity is thought to play a key role in their evolution, behaviour and accretion dynamics. Despite this, we know comparatively little about the magnetic activity and its influence on such binaries. In this review we summarise the concepts behind indirect imaging of these systems, and present movies of the starspot distributions on the cool stars in some interacting binaries. We conclude with a look at the future opportunities that such studies may provide.