User:Thijshijsijsjss/Human Parser/Project Proposal - Revision history

Thijshijsijsjss: Fix typo

2025-05-25T15:53:58Z

Fix typo

← Older revision		Revision as of 17:53, 25 May 2025
Line 12:		Line 12:

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

Thijshijsijsjss: Minor fixes in wording and adding one reference

2025-05-25T15:53:12Z

Minor fixes in wording and adding one reference

Thijshijsijsjss: Fix typo

2024-11-25T14:46:45Z

Fix typo

← Older revision		Revision as of 16:46, 25 November 2024
Line 17:		Line 17:
	'''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 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 exploration 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. 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)		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)

Thijshijsijsjss: Add (unwarrented?) hyphen for consistency

2024-11-22T10:54:55Z

Add (unwarrented?) hyphen for consistency

Thijshijsijsjss: Fix typo

2024-11-22T10:50:28Z

Fix typo

← Older revision		Revision as of 12:50, 22 November 2024
Line 157:		Line 157:
	'''Relation to a larger context'''		'''Relation to a larger context'''

	''Human Parser'' is situated in the rich landscape of video games, interactive and electronic fiction and ~~non linear~~ texts. Being a text adventure game, it is informed by text-based classic games (e.g. ''Colossal Cave Adventure'', 1976, ''ZORK'', 1977), illustrated ones (e.g. ''The Hobbit'', 1982) and reflection on these games (e.g. ''Get Lamp'', 2010).		''Human Parser'' is situated in the rich landscape of video games, interactive and electronic fiction and nonlinear texts. Being a text adventure game, it is informed by text-based classic games (e.g. ''Colossal Cave Adventure'', 1976, ''ZORK'', 1977), illustrated ones (e.g. ''The Hobbit'', 1982) and reflection on these games (e.g. ''Get Lamp'', 2010).

	This genre is approached from the lens of nonlinearity in literary theory, a text adventure as (in)determinate cybertext (Aarseth, 2003). As an exploration of literary theory, it draws inspiration from e.g. the Oulipo.		This genre is approached from the lens of nonlinearity in literary theory, a text adventure as (in)determinate cybertext (Aarseth, 2003). As an exploration of literary theory, it draws inspiration from e.g. the Oulipo.

Thijshijsijsjss: Fix typo

2024-11-22T10:49:33Z

Fix typo

← Older revision		Revision as of 12:49, 22 November 2024
Line 35:		Line 35:
	Moreover, I feel like a game manual -- similar in its status as 'obsolete' -- fits this project well. Firstly, thematically: neurodivergent people are often told to come with 'their manual'. What is a manual anyway, when it comes to people? Also, it fits mechanically: in the contemporary landscape of interwoven media, I see potential for it to breath new life in the CYOA genre, extending decision making beyond the digital realm and blurring the thematic and gameplay content.		Moreover, I feel like a game manual -- similar in its status as 'obsolete' -- fits this project well. Firstly, thematically: neurodivergent people are often told to come with 'their manual'. What is a manual anyway, when it comes to people? Also, it fits mechanically: in the contemporary landscape of interwoven media, I see potential for it to breath new life in the CYOA genre, extending decision making beyond the digital realm and blurring the thematic and gameplay content.

	I have the hopes for this project to be both an relatable experience to those struggling with disassociation themselves, and an interesting game in its own right to be enjoyed by any lover of classic videogames. This second point is important to me: the game should not just be academically interesting, but an actual worthwhile playable experience.		I have the hopes for this project to be both a relatable experience to those struggling with disassociation themselves, and an interesting game in its own right to be enjoyed by any lover of classic videogames. This second point is important to me: the game should not just be academically interesting, but an actual worthwhile playable experience.

	'''How do you plan to make it?'''		'''How do you plan to make it?'''

Thijshijsijsjss: Change image size for consistency

2024-11-21T22:23:26Z

Change image size for consistency

← Older revision		Revision as of 00:23, 22 November 2024
Line 150:		Line 150:
	\|<img src="https://media.xpub.nl/2024/PEN-PLOTTING-PARTY_12-Feb-2024/IMG_2475.jpg" height="188px"/>		\|<img src="https://media.xpub.nl/2024/PEN-PLOTTING-PARTY_12-Feb-2024/IMG_2475.jpg" height="188px"/>
	\|		\|
	[[File:Jitterbots-01-post.png\|~~250px~~\|frameless]]		[[File:Jitterbots-01-post.png\|300px\|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.		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.

Thijshijsijsjss: Fix conjugation

2024-11-21T22:16:07Z

Fix conjugation

← Older revision		Revision as of 00:16, 22 November 2024
Line 23:		Line 23:
	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. In particular, this manual will house the thesis. The thesis will support the project by being a collection of manual components like described above, and will aim to ground the project (both academically and personally) in the project's larger context.		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. In particular, this manual will house the thesis. The thesis will support the project by being a collection of manual components like described above, and will aim to ground the project (both academically and personally) in the project's larger context.

	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.		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 sent 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: Fix typo

2024-11-21T22:13:34Z

Fix typo

← Older revision		Revision as of 00:13, 22 November 2024
Line 59:		Line 59:
	* Michael Murtaugh: references for text adventures and CYOA and general brainstorming and feedback		* Michael Murtaugh: references for text adventures and CYOA and general brainstorming and feedback
	* Manetta Berends, Joseph Knierzinger: prototyping brainstorming and feedback		* Manetta Berends, Joseph Knierzinger: prototyping brainstorming and feedback
	* Lídia Pereira: references for people and ~~project~~ in the contemporary scenes adjacent to CYOA		* Lídia Pereira: references for people and projects in the contemporary scenes adjacent to CYOA
	* Marloes de Valk: thesis supervision and ask about What Remains		* Marloes de Valk: thesis supervision and ask about What Remains
	* Victor Utne Stiberg: assistance with printmaking tests and general design guidance		* Victor Utne Stiberg: assistance with printmaking tests and general design guidance

Thijshijsijsjss: Fix typo

2024-11-21T22:12:34Z

Fix typo

← Older revision		Revision as of 00:12, 22 November 2024
Line 144:		Line 144:
	I have made explorations of a similar theme as well. In particular, a short story '[[User:Thijshijsijsjss/Battles_the_Pale_Grasses_of_Pink_V\|Pink V]]' and [[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, a short story '[[User:Thijshijsijsjss/Battles_the_Pale_Grasses_of_Pink_V\|Pink V]]' and [[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 zines (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.

	{\|align=center		{\|align=center

← Older revision		Revision as of 00:12, 22 November 2024
Line 144:		Line 144:
	I have made explorations of a similar theme as well. In particular, a short story '[[User:Thijshijsijsjss/Battles_the_Pale_Grasses_of_Pink_V\|Pink V]]' and [[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, a short story '[[User:Thijshijsijsjss/Battles_the_Pale_Grasses_of_Pink_V\|Pink V]]' and [[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 zines (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.

	{\|align=center		{\|align=center

← Older revision		Revision as of 12:54, 22 November 2024
Line 27:		Line 27:
	'''Why do you want to make it?'''		'''Why do you want to make it?'''

	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 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.		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.
Line 57:		Line 57:
	Similarly to 'how', this list will surely be appended to throughout working on the project.		Similarly to 'how', this list will surely be appended to throughout working on the project.
	* Steve Rushton: references for non-linear (and experimental) writing		* Steve Rushton: references for non-linear (and experimental) writing
	* Michael Murtaugh: references for text adventures and CYOA and general brainstorming and feedback		* Michael Murtaugh: references for text-adventures and CYOA and general brainstorming and feedback
	* Manetta Berends, Joseph Knierzinger: prototyping brainstorming and feedback		* Manetta Berends, Joseph Knierzinger: prototyping brainstorming and feedback
	* Lídia Pereira: references for people and projects in the contemporary scenes adjacent to CYOA		* Lídia Pereira: references for people and projects in the contemporary scenes adjacent to CYOA
Line 134:		Line 134:
	'''Relation to previous practise'''		'''Relation to previous practise'''

	I have several years of game making experience: practical, theoretical (GMT master program), and social (participating in jams and creating for events such as [https://nl.gameforce.gg/ gameforce]). In the past year, I have made multiple endeavors in (stretching) the CYOA format (in particular the [[The_Hitchhiker's_Guide_to_an_Active_Archive\|THGTAAA radio show]], the [[User:Thijshijsijsjss/Archival_Oceans\|Archival Oceans zine]], [[User:Thijshijsijsjss/Entrance_1\|Wiki Wanderer]] and [[User:Thijshijsijsjss/T2_Assessment\|my T2 assessment]]). Additionally, I made a bite-sized text adventure with [[User:Senka\|Senka]]: [[User:Thijshijsijsjss/Notes_on_SI23/Electrifying\|Electrifying]]		I have several years of game making experience: practical, theoretical (GMT master program), and social (participating in jams and creating for events such as [https://nl.gameforce.gg/ gameforce]). In the past year, I have made multiple endeavors in (stretching) the CYOA format (in particular the [[The_Hitchhiker's_Guide_to_an_Active_Archive\|THGTAAA radio show]], the [[User:Thijshijsijsjss/Archival_Oceans\|Archival Oceans zine]], [[User:Thijshijsijsjss/Entrance_1\|Wiki Wanderer]] and [[User:Thijshijsijsjss/T2_Assessment\|my T2 assessment]]). Additionally, I made a bite-sized text-adventure with [[User:Senka\|Senka]]: [[User:Thijshijsijsjss/Notes_on_SI23/Electrifying\|Electrifying]]

	{\|align=center		{\|align=center
Line 157:		Line 157:
	'''Relation to a larger context'''		'''Relation to a larger context'''

	''Human Parser'' is situated in the rich landscape of video games, interactive and electronic fiction and nonlinear texts. Being a text adventure game, it is informed by text-based classic games (e.g. ''Colossal Cave Adventure'', 1976, ''ZORK'', 1977), illustrated ones (e.g. ''The Hobbit'', 1982) and reflection on these games (e.g. ''Get Lamp'', 2010).		''Human Parser'' is situated in the rich landscape of video games, interactive and electronic fiction and nonlinear texts. Being a text-adventure game, it is informed by text-based classic games (e.g. ''Colossal Cave Adventure'', 1976, ''ZORK'', 1977), illustrated ones (e.g. ''The Hobbit'', 1982) and reflection on these games (e.g. ''Get Lamp'', 2010).

	This genre is approached from the lens of nonlinearity in literary theory, a text adventure as (in)determinate cybertext (Aarseth, 2003). As an exploration of literary theory, it draws inspiration from e.g. the Oulipo.		This genre is approached from the lens of nonlinearity in literary theory, a text-adventure as (in)determinate cybertext (Aarseth, 2003). As an exploration of literary theory, it draws inspiration from e.g. the Oulipo.

	Additionally, contemporary games are considered, especially those that build on the CYOA tradition (e.g. ''Heaven's Vault'', 2019), or that relate to the theme (e.g. ''Adventures with Anxiety'', 2019). It finds kinship in game poems (e.g. ''Dys4ia'', 2012) and critical studies of this field (e.g. Magnuson, 2023).		Additionally, contemporary games are considered, especially those that build on the CYOA tradition (e.g. ''Heaven's Vault'', 2019), or that relate to the theme (e.g. ''Adventures with Anxiety'', 2019). It finds kinship in game poems (e.g. ''Dys4ia'', 2012) and critical studies of this field (e.g. Magnuson, 2023).