User:Thijshijsijsjss/PTMoMNBM/Human Parser - Revision history

Thijshijsijsjss: Add link to dedicated project page

2024-11-09T10:17:49Z

Add link to dedicated project page

← Older revision		Revision as of 12:17, 9 November 2024
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			<div style="text-align:right;">This PTMoMNBM now has [[User:Thijshijsijsjss/Human_Parser\|a dedicated project page! -->]]</div>

	'''A parser is an interpreting agent -- what is a 'human parser?''''		'''A parser is an interpreting agent -- what is a 'human parser?''''

Thijshijsijsjss: Add human parser note to draft 2

2024-11-07T13:14:05Z

Add human parser note to draft 2

← Older revision		Revision as of 15:14, 7 November 2024
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	===Draft 2===		===Draft 2===
			'''A parser is an interpreting agent -- what is a 'human parser?''''

			A human parser is an interpreter that happens to be a human agent

			<div style="text-align: center;">
			A human parser is an interpreter that parses humans
			</div>

			<div style="text-align: right;">
			A human parser makes the act of parsing, or interpreting, human
			</div>

	'''What do you want to make?'''		'''What do you want to make?'''

Thijshijsijsjss: Add note on hoipes for this project in draft 2 previous practise section

2024-11-07T13:11:57Z

Add note on hoipes for this project in draft 2 previous practise section

← Older revision		Revision as of 15:11, 7 November 2024
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	I have made explorations of a similar theme as well. In particular, [[User:Thijshijsijsjss/PTMoMNBM/Unnamed_Robot_Doodling_Project\|Jitterbots]]: an exploration of disassociativity through a poem-comic.		I have made explorations of a similar theme as well. In particular, [[User:Thijshijsijsjss/PTMoMNBM/Unnamed_Robot_Doodling_Project\|Jitterbots]]: an exploration of disassociativity through a poem-comic.

	Finally, in the past year I have started to develop a printmaking practise through various zine (e.g. [[User:Thijshijsijsjss/Archival_Oceans\|Archival Oceans]]), handouts (e.g. [[T2_Assessment#Handouts\|SI23's]]) and plenty of pen plotting (e.g. [[User:Thijshijsijsjss/Pen_Plotting_Panache/Gallery\|album covers]]). Also, more recently I was part of the second coming of the Counter-Tourist Information Center, for which we produced a daily micro-newspaper. While I don't intent to repeat this method of rapid production here, it was a great experience both in terms of gathering material, working with new software and collaborative publication.		Finally, in the past year I have started to develop a printmaking practise through various zine (e.g. [[User:Thijshijsijsjss/Archival_Oceans\|Archival Oceans]]), handouts (e.g. [[T2_Assessment#Handouts\|SI23's]]) and plenty of pen plotting (e.g. [[User:Thijshijsijsjss/Pen_Plotting_Panache/Gallery\|album covers]]). Also, more recently I was part of the second coming of the Counter-Tourist Information Center, for which we produced a daily micro-newspaper. While I don't intent to repeat this method of rapid production here, it was a great experience both in terms of gathering material, working with new software and collaborative publication.

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	[[File:Jitterbots-01-post.png\|250px\|frameless]]		[[File:Jitterbots-01-post.png\|250px\|frameless]]
	\|}		\|}
			With ''Human Parser'', I hope to combine these running threads, create a personal project bigger in scope, that can be published and continue to exist beyond my current environment.
	</div>		</div>

Thijshijsijsjss: Add / fix note on genre being crucial

2024-11-07T13:01:20Z

Add / fix note on genre being crucial

← Older revision		Revision as of 15:01, 7 November 2024
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	''Human Parser'' is a project around a text-adventure game that is an exporation of feelings of disassociativity, particularly those caused by mental illness and neurodiversity. This exploration is abstract yet intimate, stemming from personal experiences of myself and others.		''Human Parser'' is a project around a text-adventure game that is an exporation of feelings of disassociativity, particularly those caused by mental illness and neurodiversity. This exploration is abstract yet intimate, stemming from personal experiences of myself and others.

	Using text-adventure gameplay, a player uses text input to play. ~~This~~ genre is crucial in conveying the theme of disassociation mechanically~~: working with a parser inherently~~		Using text-adventure gameplay, a player uses text input to play. In working with a parser, this genre is crucial in conveying the theme of disassociation mechanically. While informed by classic games of the genre, ''Human Parser'' does not limit itself to text: it makes use of pixel art visuals and gaming conventions of contemporary and experimental games. The game is about assembling and embodying robots. Following a loose story, a playthrough consists of 2 parts: robot creation at the Robot Assembly Line, and playing as the created robot in the Performance Testing Facility. One playthrough should take 10-15 minutes. By the end, user inputs are chained together to form a poem that is shown when one of a handful of endings is reached. (Game content may change over the course of research and development)
	While informed by classic games of the genre, ''Human Parser'' does not limit itself to text: it makes use of pixel art visuals and gaming conventions of contemporary and experimental games. The game is about assembling and embodying robots. Following a loose story, a playthrough consists of 2 parts: robot creation at the Robot Assembly Line, and playing as the created robot in the Performance Testing Facility. One playthrough should take 10-15 minutes. By the end, user inputs are chained together to form a poem that is shown when one of a handful of endings is reached. (Game content may change over the course of research and development)

	The game is accompanied by a physical game manual, providing insights into the game and adding more thematic cohesion. It might contain visuals taken and / or re-imagined from the game, guides for gameplay, (fictionalized) behind the scenes information, poems created by playing, but also a broader exploration of the theme through e.g. interview snippets.		The game is accompanied by a physical game manual, providing insights into the game and adding more thematic cohesion. It might contain visuals taken and / or re-imagined from the game, guides for gameplay, (fictionalized) behind the scenes information, poems created by playing, but also a broader exploration of the theme through e.g. interview snippets.

Thijshijsijsjss: Add note on thesis in draft 2 what

2024-11-07T12:59:42Z

Add note on thesis in draft 2 what

← Older revision		Revision as of 14:59, 7 November 2024
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	''Human Parser'' is a project around a text-adventure game that is an exporation of feelings of disassociativity, particularly those caused by mental illness and neurodiversity. This exploration is abstract yet intimate, stemming from personal experiences of myself and others.		''Human Parser'' is a project around a text-adventure game that is an exporation of feelings of disassociativity, particularly those caused by mental illness and neurodiversity. This exploration is abstract yet intimate, stemming from personal experiences of myself and others.

	Using text-adventure gameplay, a player uses text input to play. While informed by classic games of the genre, ''Human Parser'' does not limit itself to text: it makes use of pixel art visuals and gaming conventions of contemporary and experimental games. The game is about assembling and embodying robots. Following a loose story, a playthrough consists of 2 parts: robot creation at the Robot Assembly Line, and playing as the created robot in the Performance Testing Facility. One playthrough should take 10-15 minutes. By the end, user inputs are chained together to form a poem that is shown when one of a handful of endings is reached. (Game content may change over the course of research and development)		Using text-adventure gameplay, a player uses text input to play. This genre is crucial in conveying the theme of disassociation mechanically: working with a parser inherently
			While informed by classic games of the genre, ''Human Parser'' does not limit itself to text: it makes use of pixel art visuals and gaming conventions of contemporary and experimental games. The game is about assembling and embodying robots. Following a loose story, a playthrough consists of 2 parts: robot creation at the Robot Assembly Line, and playing as the created robot in the Performance Testing Facility. One playthrough should take 10-15 minutes. By the end, user inputs are chained together to form a poem that is shown when one of a handful of endings is reached. (Game content may change over the course of research and development)

	The game is accompanied by a physical game manual, providing insights into the game and adding more thematic cohesion. It might contain visuals taken and / or re-imagined from the game, guides for gameplay, (fictionalized) behind the scenes information, poems created by playing, but also a broader exploration of the theme through e.g. interview snippets.		The game is accompanied by a physical game manual, providing insights into the game and adding more thematic cohesion. It might contain visuals taken and / or re-imagined from the game, guides for gameplay, (fictionalized) behind the scenes information, poems created by playing, but also a broader exploration of the theme through e.g. interview snippets.

	Finally, for exhibition at e.g. a graduation show, I could see this project being playable and hooked up to a pen plotter. After a playthrough, the generated poem is automatically send to the plotter, and a book is kept of all poems generated this way. This can hopefully allow for the conversation on disassociativity to continue beyond the digital, individual ~~realm~~.		The project is supported by a thesis, the exact form of which has yet to be decided. For example, it could inform the game mechanics through an historical analysis of games of this genre, it could be a documentation of this game's narrative taking shape through an exploration of related project, and / or might be interwoven into the manual.

			Finally, for exhibition at e.g. a graduation show, I could see this project being playable and hooked up to a pen plotter. After a playthrough, the generated poem is automatically send to the plotter, and a book is kept of all poems generated this way. This can hopefully allow for the conversation on disassociativity to continue beyond the realm of digital, individual experience.

	'''Why do you want to make it?'''		'''Why do you want to make it?'''

Thijshijsijsjss: Add some words to draft 2 how

2024-11-07T12:38:23Z

Add some words to draft 2 how

← Older revision		Revision as of 14:38, 7 November 2024
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	'''How do you plan to make it?'''		'''How do you plan to make it?'''

	Realising this project will require two interwoven phases: research and creation. Presented below is a list of methods, according to each phase. The methods listed are merely starting points. While working on this project, I expect many more questions of 'how' to pop up. I will ~~embrace this~~.		Realising this project will require two interwoven phases: research and creation. Presented below is a list of methods, according to each phase. The methods listed are merely starting points. While working on this project, I expect many more questions of 'how' to pop up.

			Aside from these two phases, there's a ''writing'' phase that will continue throughout, that for now not bound to specific methods and that is interwoven with ''research'' and ''creation''. This encompasses 3 key components:
			* Digestive writing of research material
			* Shaping the game's narrative and writing the actual words to appear in the game
			* Writing the game manual, which is inevitably tied to the writing of the game's narrative.

	Aside from these two phases, there's a ''writing'' phase that will continue throughout, and is for now not bound to specific methods, but will be listed as past of ''creation'' in the timetable that will follow.

	{\|align=center		{\|align=center
	\|<u>''The 'how' of research'' involves:</u>		\|<u>''The 'how' of research'' involves:</u>
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	*compiling a reference list of characteristic or otherwise interesting visuals, music, etc of these target games		*compiling a reference list of characteristic or otherwise interesting visuals, music, etc of these target games
	*investigating the social potential of CYOA, e.g. through a CYAO gamenight, by letting another human act as the terminal interface, etc		*investigating the social potential of CYOA, e.g. through a CYAO gamenight, by letting another human act as the terminal interface, etc
	*a general investigation of the impact of mental illness and neurodiversity, especially their relation to games and decision making, through dialogues people close to me		*a general investigation of the impact of mental illness and neurodiversity, especially their relation to games and decision making, through dialogues with people close to me
	*investigating the practises of classic text-adventure games, like exploring ZIL (ex-proprietary language used by Infocom in the '70s and '80s)		*investigating the practises of classic text-adventure games, like exploring ZIL (ex-proprietary language used by Infocom in the '70s and '80s)
	*Gain more printmaking experience, by turning the Jitterbots project into a physical publication		*Gain more printmaking experience, by turning the Jitterbots project into a physical publication

Thijshijsijsjss: Replace a word with another

2024-11-07T12:27:33Z

Replace a word with another

Thijshijsijsjss: Fix typo

2024-10-24T10:49:22Z

Fix typo

← Older revision		Revision as of 12:49, 24 October 2024
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	Text adventure and Choose Your Own Adventure (CYOA) games are "obsolete" genres, often seen as relics of the past, but I feel like there is still a place for them. In fact, increasingly so: in the current media landscape, everything is content, everything is moving fast, and every moment is a moment of decision. Amidst this constant overwhelming exposure, "FOMO" and analysis paralysis are symptoms characterising a generation. CYOA fundamentally opposes the idea of mass content, of experiencing it all.		Text adventure and Choose Your Own Adventure (CYOA) games are "obsolete" genres, often seen as relics of the past, but I feel like there is still a place for them. In fact, increasingly so: in the current media landscape, everything is content, everything is moving fast, and every moment is a moment of decision. Amidst this constant overwhelming exposure, "FOMO" and analysis paralysis are symptoms characterising a generation. CYOA fundamentally opposes the idea of mass content, of experiencing it all.

	This media landscape is a big contributing factor in experiencing 'disassociation' that I myself often struggle with. In turn, disassociation is both a catalyst to and catalyzed by mental illness and neurodiversion. While the stigma surrounding this topic is slowly decreasing, it still persist. ~~representation~~ is sparse and, if present at all, heaviliy stereotyped. I would like to see a more free-form, abstract and authentic display of the experience of disassociation. By their interactive and explorative nature, I feel like a game can be a good carrier for that.		This media landscape is a big contributing factor in experiencing 'disassociation' that I myself often struggle with. In turn, disassociation is both a catalyst to and catalyzed by mental illness and neurodiversion. While the stigma surrounding this topic is slowly decreasing, it still persist. Representation is sparse and, if present at all, heaviliy stereotyped. I would like to see a more free-form, abstract and authentic display of the experience of disassociation. By their interactive and explorative nature, I feel like a game can be a good carrier for that.

	I have started to explore these themes in previous projects, and feel like these have been just the tip of the iceberg. This project would allow me to continue the exploration of not just this theme, but also of several media of interest: gamemaking (and text-adventures), printmaking (possibly involving pen plotters), writing (experimentally) and storytelling (intimately).		I have started to explore these themes in previous projects, and feel like these have been just the tip of the iceberg. This project would allow me to continue the exploration of not just this theme, but also of several media of interest: gamemaking (and text-adventures), printmaking (possibly involving pen plotters), writing (experimentally) and storytelling (intimately).

Thijshijsijsjss: Change list type

2024-10-23T20:17:31Z

Change list type

← Older revision		Revision as of 22:17, 23 October 2024
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	I keep track of a steadily growing body of directly or tangentially related references [[User:Thijshijsijsjss/Gossamery\|in my reader]]. Some key references that have informed this proposal are included below.		I keep track of a steadily growing body of directly or tangentially related references [[User:Thijshijsijsjss/Gossamery\|in my reader]]. Some key references that have informed this proposal are included below.
	<div class="mw-collapsible-content">		<div class="mw-collapsible-content">
	*Aarseth, E.J. (2003) 'Nonlinearity and Literary Theory', in Wardin-Fruin, N. and Montfort, N. (eds.) The New Media Reader. Cambridge, Massachusetts, United States of America and London, England: The MIT Press, 761-780.		*Aarseth, E.J. (2003) 'Nonlinearity and Literary Theory', in Wardin-Fruin, N. and Montfort, N. (eds.) The New Media Reader. Cambridge, Massachusetts, United States of America and London, England: The MIT Press, 761-780.
	*Magnuson, J. and Games Now! ''Videogames Are Poems \| Games Now!''. Available at https://www.youtube.com/watch?v=C1UepnhRFOk (Accessed: 30 July 2024).		*Magnuson, J. and Games Now! ''Videogames Are Poems \| Games Now!''. Available at https://www.youtube.com/watch?v=C1UepnhRFOk (Accessed: 30 July 2024).
	*Aron, E.A. (2016) ''The Highly Sensitive Person''. 54th edn. New York, United States of America: Harmony Books.		*Aron, E.A. (2016) ''The Highly Sensitive Person''. 54th edn. New York, United States of America: Harmony Books.
	</div></div>		</div></div>

	</div>		</div>

Thijshijsijsjss: Fix indentation

2024-10-23T20:16:45Z

Fix indentation

← Older revision		Revision as of 22:16, 23 October 2024
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	*Aarseth, E.J. (2003) 'Nonlinearity and Literary Theory', in Wardin-Fruin, N. and Montfort, N. (eds.) The New Media Reader. Cambridge, Massachusetts, United States of America and London, England: The MIT Press, 761-780.		*Aarseth, E.J. (2003) 'Nonlinearity and Literary Theory', in Wardin-Fruin, N. and Montfort, N. (eds.) The New Media Reader. Cambridge, Massachusetts, United States of America and London, England: The MIT Press, 761-780.
	*Magnuson, J. and Games Now! ''Videogames Are Poems \| Games Now!''. Available at https://www.youtube.com/watch?v=C1UepnhRFOk (Accessed: 30 July 2024).		*Magnuson, J. and Games Now! ''Videogames Are Poems \| Games Now!''. Available at https://www.youtube.com/watch?v=C1UepnhRFOk (Accessed: 30 July 2024).
	*Aron, E.A. (2016) ''The Highly Sensitive Person''. 54th edn. New York, United States of America: Harmony Books.		*Aron, E.A. (2016) ''The Highly Sensitive Person''. 54th edn. New York, United States of America: Harmony Books.
	</div></div>		</div></div>

	</div>		</div>

← Older revision		Revision as of 14:27, 7 November 2024
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	'''What do you want to make?'''		'''What do you want to make?'''

	''Human Parser'' is a project around a text-adventure game that is an exporation of feelings of disassociativity, particularly those caused by mental illness and ~~neurodiversion~~. This exploration is abstract yet intimate, stemming from personal experiences of myself and others.		''Human Parser'' is a project around a text-adventure game that is an exporation of feelings of disassociativity, particularly those caused by mental illness and neurodiversity. This exploration is abstract yet intimate, stemming from personal experiences of myself and others.

	Using text-adventure gameplay, a player uses text input to play. While informed by classic games of the genre, ''Human Parser'' does not limit itself to text: it makes use of pixel art visuals and gaming conventions of contemporary and experimental games. The game is about assembling and embodying robots. Following a loose story, a playthrough consists of 2 parts: robot creation at the Robot Assembly Line, and playing as the created robot in the Performance Testing Facility. One playthrough should take 10-15 minutes. By the end, user inputs are chained together to form a poem that is shown when one of a handful of endings is reached. (Game content may change over the course of research and development)		Using text-adventure gameplay, a player uses text input to play. While informed by classic games of the genre, ''Human Parser'' does not limit itself to text: it makes use of pixel art visuals and gaming conventions of contemporary and experimental games. The game is about assembling and embodying robots. Following a loose story, a playthrough consists of 2 parts: robot creation at the Robot Assembly Line, and playing as the created robot in the Performance Testing Facility. One playthrough should take 10-15 minutes. By the end, user inputs are chained together to form a poem that is shown when one of a handful of endings is reached. (Game content may change over the course of research and development)
Line 183:		Line 183:
	Text adventure and Choose Your Own Adventure (CYOA) games are "obsolete" genres, often seen as relics of the past, but I feel like there is still a place for them. In fact, increasingly so: in the current media landscape, everything is content, everything is moving fast, and every moment is a moment of decision. Amidst this constant overwhelming exposure, "FOMO" and analysis paralysis are symptoms characterising a generation. CYOA fundamentally opposes the idea of mass content, of experiencing it all.		Text adventure and Choose Your Own Adventure (CYOA) games are "obsolete" genres, often seen as relics of the past, but I feel like there is still a place for them. In fact, increasingly so: in the current media landscape, everything is content, everything is moving fast, and every moment is a moment of decision. Amidst this constant overwhelming exposure, "FOMO" and analysis paralysis are symptoms characterising a generation. CYOA fundamentally opposes the idea of mass content, of experiencing it all.

	This media landscape is a big contributing factor in experiencing 'disassociation' that I myself often struggle with. In turn, disassociation is both a catalyst to and catalyzed by mental illness and ~~neurodiversion~~. While the stigma surrounding this topic is slowly decreasing, it still persist. Representation is sparse and, if present at all, heaviliy stereotyped. I would like to see a more free-form, abstract and authentic display of the experience of disassociation. By their interactive and explorative nature, I feel like a game can be a good carrier for that.		This media landscape is a big contributing factor in experiencing 'disassociation' that I myself often struggle with. In turn, disassociation is both a catalyst to and catalyzed by mental illness and neurodiversity. While the stigma surrounding this topic is slowly decreasing, it still persist. Representation is sparse and, if present at all, heaviliy stereotyped. I would like to see a more free-form, abstract and authentic display of the experience of disassociation. By their interactive and explorative nature, I feel like a game can be a good carrier for that.

	I have started to explore these themes in previous projects, and feel like these have been just the tip of the iceberg. This project would allow me to continue the exploration of not just this theme, but also of several media of interest: gamemaking (and text-adventures), printmaking (possibly involving pen plotters), writing (experimentally) and storytelling (intimately).		I have started to explore these themes in previous projects, and feel like these have been just the tip of the iceberg. This project would allow me to continue the exploration of not just this theme, but also of several media of interest: gamemaking (and text-adventures), printmaking (possibly involving pen plotters), writing (experimentally) and storytelling (intimately).
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	*compiling a reference list of characteristic or otherwise interesting visuals, music, etc of these target games		*compiling a reference list of characteristic or otherwise interesting visuals, music, etc of these target games
	*investigating the social potential of CYOA, e.g. through a CYAO gamenight, by letting another human act as the terminal interface, etc		*investigating the social potential of CYOA, e.g. through a CYAO gamenight, by letting another human act as the terminal interface, etc
	*a general investigation of the impact of mental illness and ~~neurodiversion~~, especially their relation to games and decision making, through dialogues people close to me		*a general investigation of the impact of mental illness and neurodiversity, especially their relation to games and decision making, through dialogues people close to me
	*investigating the practises of classic text-adventure games, like exploring ZIL (ex-proprietary language used by Infocom in the '70s and '80s)		*investigating the practises of classic text-adventure games, like exploring ZIL (ex-proprietary language used by Infocom in the '70s and '80s)
	*Gain more printmaking experience, by turning the Jitterbots project into a physical publication		*Gain more printmaking experience, by turning the Jitterbots project into a physical publication
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	*Victor Utne Stiberg: assistence with printmaking tests and general design guidance		*Victor Utne Stiberg: assistence with printmaking tests and general design guidance
	*Wang Ziheng: discuss music and SFX in retro videogames		*Wang Ziheng: discuss music and SFX in retro videogames
	*Interviewees or otherwise people to talk to about games, ~~neurodiversion~~, etc.		*Interviewees or otherwise people to talk to about games, neurodiversity, etc.
	*Testers (probably I will call upon my network of game design students from the UU and HKU)		*Testers (probably I will call upon my network of game design students from the UU and HKU)
	*Classmates and friends to discuss, share, motivate and ground myself		*Classmates and friends to discuss, share, motivate and ground myself