Siqi Cai
Abstract
In 1978, a replacement home video format called the LaserDisc, abbreviated LD was first commercially available for the storage and playback of flicks as an alternate to videotape. Compared to other home video formats at the time, LD offered a better image quality and determination also as a random access feature, which allowed the video to leap from one point to a different for fast access. 1) Both these advantages allowed the LD technique to be adapted to video games. 2) Therefore, within the 1980s, a series of video games using LD because the game carrier were published, and sometimes called “the interactive movie.” Interactive movies are essentially video games that use a big amount of pre-calculated image data because the primary content, specialize in the cinematic narrative, and offer comparatively poor gameplay. The poor gameplay is thanks to infrequent interactivity, which limits players to interaction through only a couple of buttons to play the sport. The event process of the interactive movie didn't progress smoothly. Despite providing experimental gameplay and cinematic game experiences, the interactive movie eventually ushered in its decline at the top of the 1990s thanks to a poor reputation. 3) a couple of critical points for its failure were summarised by scholars who study video games, also referred to as audiologists, including a shortage of interactivity, limited branch plots, unsatisfied acting, and low video quality compared to a true movie. 4) To form matters worse, the first interactive movies were labeled as “low-interactivity games” by Chris Crawford, a video game designer and ludologist, who was authoritative within the field of game interactivity research. 5) Most disadvantages that existed pointed to the planning of the interactive movie with poor gameplay and large usage of video clips. While it's true that the interactive movie, to some extent, was liable for most of its failures, 6) there remain some people that still enjoy this sort of game, and other interactive movies with related features, like Heavy Rain (Sony Computer Entertainment, 2010), The Walking Dead (Telltale Games, 2012), and Minecraft: Story Mode (Telltale Games, 2015), which are still being published continuously. As Crawford concluded, most game designers wanted but couldn't make the foremost of the gameplay of the interactive movie thanks to many reasons. 7) On this basis, the reduced gameplay and therefore the broad specialize in the animated content of the interactive movies weren't the key issues responsible for its failures. Through further research, this thesis establishes a definite understanding of the interactive movie, which helps confirm the thought that the interactive movie has the potential to transfer reduced gameplay and other specialties into accessibility, player’s thinking depth, and better overall interactivity quality. This dissertation analyses the interactive movie’s poor gameplay and its essence from a historical perspective. Professional terminologies, like interactivity, interactivity frequency, process intensity, and data intensity are introduced and wont to argue and validate the conclusion to supply a comprehensive understanding of this category of gameplay. There are significant differences between the art of animating for linear media like film and video and therefore the art of animating for interactive media like computer and video games. Especially, these differences arise from the shift from linear characters to autonomous interactive characters. This text describes differences between linear animation and interactive animation in several areas of character design -- character intelligence, emotional expressiveness, navigation, transitions among animations, and multi-character interaction. These differences provide insight into the processes of both sorts of animation and therefore the final products that they create, and should provide a start line for linear animators curious about becoming conversant in interactive animation. As an animator and practice-based researcher with a background in game development, we are curious about technological change within the computer game medium, with attention on the tools and technologies that drive game character animation and interactive story. Especially, we concerned with the difficulty of ‘user agency’, or the power of the top 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. During this paper, we consider the unique qualities of video games. 1) As an inventive medium and therefore the impact that these qualities wear the assembly of animated virtual character performances. We 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 wont to model dynamic character performances, the user has the power to interactively affect characters in real-time within the larger sphere of the sport. This gameplay creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of the games: the short animation cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters 2) and constructed into relatively cinematic representations. While visually spectacular, short animation cut-scenes involve minimum interactivity, so user agency is low.