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Gaming on Data: Gaming Script – By the Word We the Intent

Gaming Scripts series:

Language and Aggressions

Language and Aggression over time

3Number of Unique Words color sentiment

Recap from first post :

Looking at a game and its script as a whole, it’s easy to get an understanding of what kind of game it will be. Having violence in a game is one thing, but having the characters in the game be in distress about it are two different things. You play the game and it stresses you. You don’t necessarily become immersed to the characters but the tension does rub off on you.

12- Game Script - Lang use over time, only NonNeutral minus 10k a-g 13 - Game Script - Lang use over time, only NonNeutral minus 10k h-u

Continue reading “Gaming on Data: Gaming Script – By the Word We the Intent”

Gaming on Data: Gaming Scripts – Aggression over time. A long time.

Gaming Scripts series:

1 – Language and Agressions

3Number of Unique Words color sentiment

Touching back on what we found out in the previous post was that games, in general, use aggressive language considerably. Granted this is from a small sample size of AAA titles, but are titles that permeate through the gaming community. Required reiterating in-case there are new readers to this post who hasn’t read the last one, yet. (Cough, cough.)

But the last post looked at a game as the sum of its parts and not the parts that made up that sum.

6 - Game Script - Lang use over time a-g 7 - Game Script - Lang use over time h-u

And there’s a reason for that. The parts of a game’s script are a bit messy, jumbly and noisy. The above is the running average of the sentiment, the polarity of aggression where negative (red) denotes more aggressive language and positive (green) denotes more friendly language. But these graphs for the most part are bit too noisy to make sense of them aside from the general feeling that a game is. Comparing say the Call of Duty games, where there’s very little green up top but a whole lot of red underneath, makes it easy to assume that its language is more aggressive in nature than say Portal 2 where the opposite is true with its green hair and ginger public area.

Continue reading “Gaming on Data: Gaming Scripts – Aggression over time. A long time.”

Gaming on Data: Gaming Scripts – Language and Harsh Undertones

We play a game and absorb a lot of created by the developers. Gorgeous tropic landscapes; the honks, footsteps and clatter of an urban environment; the dialectic change for stepping into 1950s New York in the Bronx. The developers and artists and writers put a lot of time sculpting and crafting their environment and it leaves an impression on you. When you put down Assassin’s Creed 2, aside from the killing, freerunning, building scaling that you do, you also absorb a bit of 15th century Italy. The architecture becomes recognizable, the attire becomes familiar and you learn many of the ins and outs of getting around the city. This very much thanks to the developing teams request to keeping the game period perfect and because of that, a part of the game seeps into us and we learn from it and grow from it.

For this short iteration of Gaming on Data, I got a bit curious about the scripts behind the game, the writing for the game because gaming is just as much a visual distraction as it is a conceptual one. Much of the writing that a player comes out of the characters that interact within it, so that’s what I focused on.

For this, I scraped the internet for a few scripts for somewhat current AAA titles are prolific in that they cause a large impression on the gaming community. But finding these scripts is not easy, so I managed to only get the following:

Scripts Scraped:

  • Bioshock
  • Bioshock 2
  • Bioshock Infinite
  • Call of Duty – Black Ops
  • Call of Duty – Black Ops 2
  • Call of Duty – Ghosts
  • Call of Duty – Modern Warfare
  • Call of Duty – Modern Warfare 2
  • Call of Duty – Modern Warfare 3
  • Curse of Monkey Island
  • Grand Theft Auto 4
  • Half Life
  • Half Life 2
  • Mass Effect
  • Mass Effect 2 (Incomplete)
  • Mass Effect 3
  • Portal
  • Portal 2
  • Red Dead Redemption
  • Secret of Monkey Island
  • Elder Scrolls: Skyrim
  • Uncharted
  • Uncharted 2
  • Uncharted 3

1Number of Unique Words in Gaming Script

The above is a graph showing the number of unique words within each game and something obvious jumps out: RPGs and Open World games have a lot of text. Not even by a small margin, like a significant margin.

Continue reading “Gaming on Data: Gaming Scripts – Language and Harsh Undertones”

A Look Back – Call of Duty – Modern Warfares

I just spent the past two weeks going through all of the Modern Warfare games in preparations for another project that I’m working on it was a struggle. The games aren’t particularly long, consisting of maybe 4 – 6 hours for the campaign, nor were the games particularly difficult, since I set it to novice difficulty just to get through the main plot points of the game. The struggle was stepping back into technology that was still infantile when comparing AAA development from a decade ago to today’s technology. The contrast to how Call of Duty creates a voice for itself through Infinity Ward’s Modern Warfare franchise from its first inception to its last makes it hard to piece the games as a trilogy, in everything but name and characters. It makes it hard to go home to your roots.

Hot potatoes get dropped, butter fingers
Hot potatoes get dropped, butter fingers

The problem with calling it a trilogy is that there is normally some coherence between the games. Either a coherence in story, people, setting, tone; but as you play through the games, the story is consistent, albeit sparsely given; the people generally there; the setting somewhat there; but the tone is all over the place.

Continue reading “A Look Back – Call of Duty – Modern Warfares”

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