Simulation, as largely defined is an imitation of various sorts to serve as a semiotic representation of a narrative. For instance, in the case of monomial narrative representation – the semiotic channel (i.e. print, text, imagery) will constitute an approximation of the story world for the user to essentially experience the elements of the very narrative.
While simulation bases itself around the conventional elements of narrative structure – characters, plot pattern, setting, focalisers, it helps formulate a mocked up reality for the user to chart through as a narrative representation.
In my understanding, simulation, although requires skills to create and implement, I would like to borrow the simulation idea from some the Future Self project for my video log project– Dear Future Me!
Intro video – Future Self (https://futureself.orange.com/)
https://www.youtube.com/watch?v=lW0lt5S6wQ8
This is an example of a perfect simulation form for showing a user their future self. Requesting access to webcam and microphone it records the voice pattern and the face features, simulating them within the set software to enhance them for another 20 years from now to show the user their future self which will then talk back to them.
For example, Apple’s Siri or Window’s Cortana, faceless human simulations made to act as your personal assistant within the phone. Although, based on a series of algorithms, they have been designed as digital entities with personality.
I have also been searching for simulation examples for future plug-ins for the interactive website on invisible faces of homelessness, and came across an interesting simulation:
Spent – http://playspent.org/
An interactive game which put the user in a simulated world where they were challenged on survival, engaging them and thereon not only making the user realise how prevalent is the homelessness scene in US these days but also lead them into an empathy of how anyone of us could be standing in that dark spot of homelessness.
Ludology differs from narratology in that its exponents believe a computer game is first and foremost a game and must be studied in the context of its rules, goals and possibility for action (that is, its gameplay). Richard Rouse, a game designer, describes gameplay as: “the degree and nature of the interactivity that the game includes, i.e., how the player is able to interact with the game-world and how that game-world reacts to the choices the player makes.” (Rouse 2001, p.18). Hereby quoting Richard Rouse who refers to the difference between Ludology and Narratology, yet how a game world brings them to convergence at the same level.
References:
Dan Tynon. (2015). Inside Windows Cortana: The Most Human AI Ever Built. Available: https://www.yahoo.com/tech/inside-windows-cortana-the-most-human-ai-ever-124740656729.html.
Rouse, R, 2001. Game Design: Theory & Practice. Wordware, Plano, Texas.
Rebecca Young. (2015). Narratology and Ludology. Available: https://lms.rmit.edu.au/webapps/blackboard/content/listContent.jsp?course_id=_321027_1&content_id=_6359417_1.
Rebecca Young. (2015). Simulation. Available: https://lms.rmit.edu.au/webapps/blackboard/content/listContent.jsp?course_id=_321027_1&content_id=_6359418_1.
Ruth Page (2009). New Perspectives on Narrative and Multimodality. Routledge. p81-82.
The Conversation: Homeless Simulation Game Forces Players to Confront Tough Choices – ABC News. (2015). Available at: http://abcnews.go.com/Technology/conversation-homeless-simulation-game-forces-players-confront-tough/story?id=12931813.
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