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Twine 7: Immaculate
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When writing the concept for the game, I wrote this with some form of an understanding of the Persona 5 universe, but I do hope that within the limited storytelling with the minimalistic format, I wrote the lore for this twine game in a way that needs minimal understanding of any other games.
Game Inspirations
The game was inspired by Persona 5, where I drew the inspiration of having a reflective world that ran on purifying hearts. I also drew inspiration from NieR: Automata, which lightly discussed the idea of what beauty actually means, and the lengths one will go to be this subjective beauty, beauty is an idea that varies from person to person, and no two interpretations will be identical. We as people have been trying to quantify and understand beauty and what appeals, but we don’t have a solid answer. So I used that idea as a starting point for the protagonist, where they think about what beauty means to them, and then how that thought of what it means gets incorporated to what they would do to obtain the eyes of those who they desired. I was inspired by Until Dawn, which was the first game that I played that felt like I was able to make meaningful choices, so I wanted to make something with that level of diversity with choices that have meaningful outcomes. Until Dawn is a jump-scare horror game where all the main characters can live or die, where not taking enough risks or too many could easily kill any character. I also was inspired by Final Fantasy XIII, especially the deity of Etro, who was the goddess of rebirth, but also found humans worth mercy, and often that mercy she presented were myopic, causing grievous consequences. I used her as a means for that narrative sense of trying again, seeing what other endings, and trying to give another chance to the protagonist. I was also inspired by the genre of Alice: Madness Returns, which was an interesting idea of psychological horror.
Game Story Background
When making this game, I originally conceived this concept over a year ago as a Persona 5 fanfiction based on NieR: Automata’s character of Simone. Simone’s character was a machine lifeform whose affections were unrequited by another machine who was not interested in love or beauty, so she committed terrible acts in the name of beauty. Venturing for beauty in material things, such as jewels, venturing in beauty even through the rumor of eating android corpses. Integrated with the idea of Simone pursuing beauty to the growing disgust of self at the drastic measures taken, I took the concept of that growing disgust and drastic measures into the world of Persona 5 where desires and hearts manifest and by stealing hearts do you fix society’s ills. The hearts that manifest in the world, and stealing those hearts usually take away the root of a person’s bad behavior. A stolen heart in Persona 5 meant that a person who was sadistic and abusive no longer had those tendencies after their heart was stolen, making them a good person again. I used these elements in the game very loosely, as a means of purity. Where the idea of a purified heart and a purified person and the way Persona 5’s reflective world of hearts wasn’t the actual extraction of a physical heart. In Persona 5, a person’s heart can only be cleansed by making the reflective version fear losing their most precious thing, but that also makes the target feel some element of panic. I used these elements so that it had a level of horror in it, that the process wasn’t pretty or enjoyable, but a necessary evil. I also used that sense of panic to warp this protagonist’s view of themself, to elevate that sense of monstrosity, as if they know their sins. I used these elements in a much looser sense, at least in the context of the game.
Originally, it was written as a story “Desire” with an element of queerness. The protagonist in the story, Akira, was enamored with an artist, Yusuke. In Persona 5, Yusuke thinks Ann is quite beautiful and wishes to paint her. I used this in Desire as a means of adding an element of misunderstanding and a means of fear of unrequited love, as the setting was modern Japan, where queerness is still highly stigmatized (although for different reasons than the west). Akira wants Yusuke to notice him, but Yusuke only has eyes for Ann, or so it seems. But this misunderstanding drives Akira to do anything for him to be regarded as beautiful, as his parents didn’t seem to miss him after he got falsely accused, so he felt this deep want for someone’s approval. So he did everything he could to earn it. In the end of the story, Akira dies and it’s revealed Yusuke requited Akira’s affections, but was too afraid to admit it to himself, and it cost him Akira. I removed the openly queer elements, and let the player be attracted to a vague idea of a person, so then it could be whatever gender they may be attracted to, rather than forcing something like heterosexuality on a queer player.
The concept with the Metaverse (Persona 5’s reflective world), where shadow selves exist as mirroring the real world, but the world is warped by the perspective of the person whose heart is being purged. The Metaverse is a reflection of the person’s perception, including the shadow people reflecting the person’s view of people, e.g. one character’s perspective of people are as if they are robots, only there to work and produce, and useless if defective or breaking down, disposable. So, in that character’s version of the Metaverse, the shadows are robots, and he is their leader in the infinite possibilities of the cosmos.
I used the concept into creating that the people were dark and terrifying, because initially it was unknown. But as the protagonist got more drastic, it evolved into a demonic version of themselves, but with a hint of truth to it. They believed that all these wrongdoings meant they were irredeemable, making them into a salvationless demon, and priests were to give the game protagonist a tangible representation of their thoughts that told them these horrible things and wanted that person to die. And the priests go and attack the protagonist when they’re in reach, that those thoughts had consumed them and killed them. But the protagonist’s shadow is there too, and it wants to live, but like its real counterpart, it suffers from the malice, but it cannot escape into the real world, forced to go through torture every night because of the protagonist’s belief that they are irreparable. It gives this sense of understanding how deeply affected they are by what they have done. Their shadow self is gaunt and terrified, reflective of how the protagonist is in several ways starving and terrified of themselves. I chose the church imagery to emphasize the wrongness, and irreparability, as many sects of Christianity often tout a narrative that people are irreparable and going to hell for their sins. The ornate designs make the church seem too bright on the interior, so that it’s unsettling for a person who may see it. The ornateness also emphasizes lack the protagonist has. A lack of self-perception, of people, of happiness.
Within the story, I also have the idea of rebirth and changing the past and the future. I thought about what I wanted to do with it, the fact that I wanted the protagonist and the player to have the feeling that what they’re doing does have the effect, but also to be malleable enough that it can change the outcome to perhaps learn how to find this semblance of a conclusion to the game.
Structure
In terms of structure of the game, I wanted there only to be a beginning. When making a game, I like the narrative elements, but also when playing the game more than once will reward the player with new content, otherwise it may not keep the person’s interest for long. I love the idea of possibilities within games, and despise the lack of choice available, or at least meaningful choice, wherein stories present us with options but it bridges to filler. So I wanted to make the game’s structure into something that actually had choice and where you could see the change happening. I designed it with a beginning in mind, but I wanted to have this idea of even though you may see the same parts of the narrative, you can’t change the past, but must move forward. It’s the idea of cycles, of seeking atonement, of trying to be better, by doing things right. I wanted to mimic that difficulty of figuring out how to be something beautiful and that can be loved. And that at the end of the day, worth is really something that takes trial and error to convince yourself that you have worth.I also want the game to have some sort of openness to it, so then it can be built upon. If at some point in the future, I want to expand it, to add more elements and to develop the ideas presented, I have the freedom to do so. I did however, want there to be something for someone if they did get to the ending, but integrated it with the idea of finding that their desire does requite their affections, but I didn’t want it to be a deus ex machina. For as much as this is fantasy, I wanted it to capture the emotional aspects of real-life worthlessness, depression, and those experiences don’t simply vanish when someone finds love, it’s a process of unlearning everything you’ve been taught.
Mechanics
The mechanics of the game that I wanted to incorporate is the idea of multiple endings, rather than only a once-played story that doesn’t give many benefits to multiple playthroughs. Especially with a format as interactive fiction, it doesn’t exactly have other means of keeping players engaged. Depending on which endings you go through, you have different text depending on which ending you got. Music was also dependent on endings and certain story points. The music was designed to add some form of grounding in the story, as sound is a very effective medium to add. Horror films on silent are much less scary than with audio because the audio keeps you in the moment. I used various songs to try to mimic those moods.
Major Themes
In this game, I, as mentioned wanted to touch on the idea of beauty, sacrifice, and ultimately, humanity. By having the themes of atrocity, but that idealistic desire to be good, I wanted to ask the question of if the protagonist is human, or at what point does mercilessness become irredeemable, even if done out of sheer attempt of survival. Does the loss of humanity come from unwilling excess, or must it be through consciously doing the wrong when one does not need to? Is there such thing as being redeemable or irredeemable? At some point, does that even matter? And what constitutes as harm? I started working on these themes, but haven’t fully fleshed them out, between time constraints and the desire to leave them open to interpretation
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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