<![CDATA[Kotaku: language]]> http://tags.kotaku.com/assets/base/img/thumbs140x140/kotaku.com.png <![CDATA[Kotaku: language]]> http://kotaku.com/tag/language http://kotaku.com/tag/language <![CDATA[A Conversation with a Game? Devs Seek to Break the Ice]]> Language recognition is not a new concept to video games - the first text adventures had to understand commands somehow. But researchers are trying to integrate it in more open-ended ways - allowing for dynamic conversations between players and characters.

BBC Radio profiled the efforts, lately highlighted in the game 221B, a movie adaptation of the recent Sherlock Holmes film. In it, players must interrogate witnesses and suspects to gain answers that advance the story.

"Rather than attempting to create an exhaustive list of possible questions and the appropriate response, the characters in the game are capable of making a 'fuzzy interpretation' of what is said to them," the BBC reports. "The intention is to remove the frustration, familiar to any who played the old text-based adventure games, of having to guess the right way of asking a question or giving an instruction."

Other games based on open-ended use of language, spoken or written, include Facade and, of course, Scribblenauts - and even Left 4 Dead. "Each of the characters has a set of voice samples which can trigger based on events, situations and other dialog lines," Rockstar's Alex Champandard said of L4D. "This results in completely emergent short conversations depending on the situation."

The BBC calls it one of "the last uncracked problems" in games design. It's a good read, especially for the humorous kicker paragraph.

AI Aims to Solve In-Game Chatter
[BBC Radio]

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<![CDATA[Games as Language]]> L.B. Jeffries has a nice essay up on the idea of 'games as languages' — a combination of coercing players to take certain actions and encouraging certain responses, creating a dialogue of sorts. As Jeffries says, "It’s not exactly talking to another person…but it’s not just rolling dice or pressing shoot either." As games get more complex, so does the 'language' aspect — choices are expressive elements, and the more choices one has, the more opportunities for unique combinations. Even the simplest of games involves communication — 'go here, do that.' With the influx of more diverse and user-created building blocks, it seems reasonable that the 'languages' would begin to emerge more clearly:

There are dozens of ways to express the same thing in a language, depending on the circumstances and ways the speaker wishes to interact with their surroundings. In comparison, video games have far less choices but that does not rule out calling them ‘tiny languages’. Their size then being directly proportional to the number of options given to a player. It can be tough to pick up on this in a mostly linear game like God of War because it has so few options that one can’t really appreciate the ‘games as language’ argument. That’s a game that falls under Hideo Kojima’s ‘games as museums’ design theory, and is more about delivering a series of set experiences that the player roleplays through. On the other hand, games such as Grand Theft Auto IV and Far Cry 2 on a greater level represent enough choices compounded together that the first indications of a language start to form.

Jeffries notes in the comments that this is sort of the converse of something that Ian Bogost has written extensively on — the ability of games to communicate at masses of people.

Games as Language Systems [PopMatters]

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<![CDATA[Cunning Linguists: Crafting In-Game Languages]]> The issue of created languages is hardy new (cf Esperanto), but I've not seen a lengthy discussion of created languages in games — the challenges and pitfalls of designing a working, intuitive, and integrated linguistic system that's really a part of a game is an interesting issue. James Portnow spoke with Richard Garriott, lead designer of Ultima, about the keys to creating an intuitive in-game language that isn't too intrusive. Portnow further muses on the 'language' of games, and how created languages can inform our design of other aspects of the user interface:

Consider any game you've played recently. At least some information was conveyed to you in a symbolic manner. What makes this information intuitive? What makes it counterintuitive? Studying these languages, even to a limited degree, made me more conscious of exactly what the difference is.

What is particularly fascinating is the fact that games have already formulated parts of a learned symbolic language for games. Consider the life bar. A life bar is completely alien and counterintuitive, but we'd all recognize and assimilate one instantly. By agreeing on a symbolic notation for health, game developers have acclimated players to it and taught them to recognize it whenever they encounter it. Developers have expanded their toolbox of symbols and added to what can be instantly expressed!

I'm far from arguing that the common video game conceits should be codified into a common symbolic language, but it's interesting to note that, without trying, we've done exactly that to a limited degree.

It's a quick read, but interesting. I can't say I ever pay much attention to in-game languages, other than when I'm more or less forced to, but that's probably one mark of a good one — something that adds color and 'authenticity' without being in your face.

In Tongues: Richard Garriott on In-Game Languages [GameCareerGuide]

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<![CDATA[MSU Offering New Chinese Language/Culture MMO]]> In an effort to make learning Chinese less painful (and ostensibly to capitalize on the 'MMO as language learning tool' trend that's been talked about a bit in the past few months), Michigan State University's Zhao Yong (professor of education technology and educational psychology) has designed Zon!, where players can graduate from tourist to resident to citizen of this little virtual slice of China:

The goal is to fare well and advance socially and economically, with players advancing from “tourists” to “residents” and finally to “citizens” of modern China. At the different stages, players encounter quests, have access to learning materials – including live Chinese tutors – and can organize and participate in social activities.

Among the many tasks players can complete in the tourist stage are ordering a taxi, exchanging currency and checking into a hotel in China.

“Games are supposed to be fun and educational,” Zhao said. “With this one, we have struck a good balance.”

I wonder if the Zon! cabbies are as chatty as the guys in Shanghai or Taipei. It's a neat idea for facilitating language acquisition — if only it weren't in hateful jiantizi.

Virtual China: Online game teaches Chinese culture, language [MSU Today]

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<![CDATA[Dissecting the Language of MMOs]]> EarthTimes.org is currently hosting an interesting article looking at the language of online games and specifically MMOs. For the long time player the article may seem a bit simplistic, but for the uninitiated, especially the non-gamers, it includes some basic useful information. It seems a bit of an odd choice for an article that is directed at non-gamers but at least it doesn't talk down to the reader or make them feel like "this crazy gaming world is something that you'll never understand." So, if you're new to the MMO scene or looking to bone up on your terminology so as not to sound like a complete noob on your first adventures in WoW, check out this article. In no time you'll know exactly what "4/6 lfm tank and dd" means and why you should care.

'4/6 lfm tank and dd' - The jargon of online gaming [EarthTimes]

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<![CDATA[Pedestrian Wit Rants Against Gamer Terms He Hates. We Weigh In.]]>

In a hysterical outpouring of unclever, pedestrian gamer rage, Dennis over at the VG Resource Center has come up with his definitive list of gamer terminology that triggers his Tourette's and causes him to pull his panties over his head.

Words he doesn't like? Twink, Celda, Wii-mote, Kiddie Games, Web 2.0, Wi-Fi, l337-5p34k, BOOM, HEADSHOT!, Gaymer and Ninty.

Oh, I sympathize with him on some of them, Ninty in particular. You may not be aware of this, but Eliza, McWhertor and I have formed a revolutionary Kotaku junta with the aim of banning the usage of the words 'Ninty' and 'Msoft' on this site. These terms make us grate our teeth so violently that sparks shoot out from our fillings. We seem to have successfully bullied Ashcraft into submission, but Crecente remains almost gleeful in his usage of 'Msoft', as if the caloric expenditure of typing four more letters on the keyboard would waste him away into a gasping, desiccated ghoul. And he's the boss, so unless we throw our own October Revolution (currently scheduled for September), that's unlikely to change.

Anyway, back to Dennis. In regards to 'gaymer', he writes:

Why the hell the homosexual community has to go out of their way with terms like this is beyond me. Maybe it is because it is their sole duty to impose their will on the rest of the gaming community. Say "gamer" aloud. Now say "gaymer" aloud. Notice the difference in pronunciation? Yeah, neither do I. It almost makes one feel that they attempt to make it seem that people who play video games are gay by default.

To which I retort: aren't they?

10 Terms Created by the Tech and Gaming Community That Piss Me Off [VG Resource Center]

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