Page 9 |
Save page Remove page | Previous | 9 of 47 | Next |
|
small (250x250 max)
medium (500x500 max)
Large (1000x1000 max)
Extra Large
large ( > 500x500)
Full Resolution
All (PDF)
|
This page
All
|
Conference, later entries into the genre drew directly from A-Life. SimLife describes its virtual
“orgots” in Langton’s terminology of genotypes and phenotypes, and it is, like many A-life
projects, a game about the interesting emergent behaviors of large populations of simple, similar
organisms.8 It should be noted that SimLife clearly grapples with the introduction of A-life and
simulation into the realm of games: the game explicitly states in an introductory demo sequence
that SimLife “lets you break the barriers between games and simulations, playing and learning—
even between machines and living beings.” 9 Maxis marketed its games at the time as “software
toys,” highlighting their focus on self-directed play. 10 These games feature interim achievement-style
goals, but rely on the player to set his own long-term objectives.
The body of simulation games can be categorized in terms of the number of actors being
simulated and, correspondingly, whether these actors are represented through individual game
objects or through abstracted collections. Simulation games with similar numbers of actors and
modes of representation of these actors also tend to share similar control mechanics.
SimCity is an example of a game with many non-discrete actors—“sims”—who inhabit a
city. Rather than interacting directly with a particular sim, the player interacts with the city by
placing buildings and establishing urban zones, as well as adjusting values such as budgetary
allocation, city ordinances, etc.11 Also, as in SimLife, the player can instigate disasters in his city
—revealing the game’s focus on free play and experimentation rather than pursuit of a goal, since
these fun activities actually set the player back in terms of success within the game system.
One step closer to individual simulation are simulation games in which the player
manages many discrete autonomous actors. These include Populous, SimTower, Dungeon
4
8 Cliff, Dave, and Stephen Grand. "The Creatures Global Digital Ecosystem." Artificial Life 5. (1999): 77-94. Print.
9 SimLife. Maxis, 1992.
10 Cliff, Dave, and Stephen Grand. "The Creatures Global Digital Ecosystem." Artificial Life 5. (1999): 77-94. Print.
11 SimCity, Maxis, 1989.
Object Description
| Title | Leafcutters: life simulation gameplay designed to evoke engagement with real-world subject matter |
| Author | Graner, William B. |
| Author email | granerw@gmail.com; bill@bgraner.com |
| Degree | Master of Fine Arts |
| Document type | Thesis |
| Degree program | Interactive Media |
| School | School of Cinematic Arts |
| Date defended/completed | 2011-05-05 |
| Date submitted | 2011 |
| Restricted until | Unrestricted |
| Date published | 2011-05-05 |
| Advisor (committee chair) | Gibson, Jeremy |
| Advisor (committee member) |
Fullerton, Tracy Anderson, Steven F. |
| Abstract | Leafcutters is a life simulation game about leafcutting ants which is designed to evoke engagement with real world subject matter. In this game, players shape the behaviors of a colony of ants in order to establish complex behaviors such as foraging and fungus farming. The game system in Leafcutters is adapted from existing biological research on ants, with an emphasis on the accurate adaptation of a natural system into a game system. This project draws on previous works in artificial life, life simulation games, swarm games, virtual pets, and virtual ants. Leafcutters is a work of expressive AI, an evocative knowledge object, and an educational game. |
| Keyword | simulation game; evocative knowledge object; educational game; video game |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m3919 |
| Contributing entity | University of Southern California |
| Rights | Graner, William B. |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | cisadmin@lib.usc.edu |
| Filename | etd-Graner-4578 |
| Archival file | uscthesesreloadpub_Volume40/etd-Graner-4578.pdf |
Description
| Title | Page 9 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | Conference, later entries into the genre drew directly from A-Life. SimLife describes its virtual “orgots” in Langton’s terminology of genotypes and phenotypes, and it is, like many A-life projects, a game about the interesting emergent behaviors of large populations of simple, similar organisms.8 It should be noted that SimLife clearly grapples with the introduction of A-life and simulation into the realm of games: the game explicitly states in an introductory demo sequence that SimLife “lets you break the barriers between games and simulations, playing and learning— even between machines and living beings.” 9 Maxis marketed its games at the time as “software toys,” highlighting their focus on self-directed play. 10 These games feature interim achievement-style goals, but rely on the player to set his own long-term objectives. The body of simulation games can be categorized in terms of the number of actors being simulated and, correspondingly, whether these actors are represented through individual game objects or through abstracted collections. Simulation games with similar numbers of actors and modes of representation of these actors also tend to share similar control mechanics. SimCity is an example of a game with many non-discrete actors—“sims”—who inhabit a city. Rather than interacting directly with a particular sim, the player interacts with the city by placing buildings and establishing urban zones, as well as adjusting values such as budgetary allocation, city ordinances, etc.11 Also, as in SimLife, the player can instigate disasters in his city —revealing the game’s focus on free play and experimentation rather than pursuit of a goal, since these fun activities actually set the player back in terms of success within the game system. One step closer to individual simulation are simulation games in which the player manages many discrete autonomous actors. These include Populous, SimTower, Dungeon 4 8 Cliff, Dave, and Stephen Grand. "The Creatures Global Digital Ecosystem." Artificial Life 5. (1999): 77-94. Print. 9 SimLife. Maxis, 1992. 10 Cliff, Dave, and Stephen Grand. "The Creatures Global Digital Ecosystem." Artificial Life 5. (1999): 77-94. Print. 11 SimCity, Maxis, 1989. |
