PhD Student, York
After graduating with a BSc in Multimedia Technology and Design from the University of Kent, Thryn has been creating short form games and working as a small studio producer – most recently with Dublin based Dreamfeel and the international team of Crows Crows Crows. With an interest in personal and alternative games, Thryn’s passion lies in exploring unconventional narrative, interaction and art techniques that create unique and meaningful experiences for both creators and players. These investigations are focused closely on self-representation linked to mental health, gender expression and sexuality, and link closely to her research in vignette games and their communities. Outside of research and games development, Thryn also volunteers as a producer for the monthly VideoBrains talks in London, and at various events focused on encouraging women into interactive technologies.
Vignette games: exploring the modes and methods of creating believable emotion in brevity
The goal of this research is to employ critical analysis and exemplar game development to investigate an influential area of game design that remains almost entirely unexplored by academic writings, the vignette game. Best defined as short, single experiences (often autobiographical), vignette games are brief interactions with player input limited to their most meaningful, usually with the intent to portray an emotional landscape rather than a narrative arc. Despite the growing popularity of vignette games among players and creators, as a genre its storytelling, formative works and pioneering techniques are largely undocumented. It’s potential is also greatly untapped, as Ian Bogost writes in his article “Persuasive Games: Videogame Vignette”, “as an aesthetic, the vignette is surely underused in video games.” This research will offer vital insights into an expansive, creative and increasingly important subculture in video games, as well as critical understanding of generating empathy in creating games as agents of representation. It also offers tremendous potential for analysing emotional narrative in larger works, and better understanding of the convergences between narrative, emotion and form.
Home Institution: University of York
Supervisors: Jenna Ng (York) and Daniel Kudenko (York)