This paper presents a method for generating player-driven narratives from visual inputs by exploring the visual analysis capabilities of multimodal large language models. By employing Bartle’s taxonomy of player types—Achievers, Explorers, Socializers, and Killers—our method creates stories that are tailored to different player characteristics. We conducted a fourfold experiment using a set of images extracted from a well-known game, generating distinct narratives for each player type that are aligned with the visual elements of the input images and specific player motivations. By adjusting narrative elements to emphasize achievement for Achievers, exploration for Explorers, social connections for Socializers, and competition for Killers, our system produced stories that adhere to established narratology principles while resonating with the characteristics of each player type. This approach can serve as a helping tool for game designers, offering new insights into how players might engage with game worlds through personalized image-driven narratives.
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A reflection on the impact of Paul Julien's photographs in the form of a letter to him, part of the larger investigation into his legacy.
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Since the arrival of cinema, film theorists have studied how spectators perceive the representations that the medium offers to our senses. Early film theorists have bent their heads over what cinema is, how cinema can be seen as art, but also over what cinema is capable of. One of the earliest film theorists, Hugo Münsterberg argued in 1916 that the uniqueness of cinema, or as he calls it photoplay, lies in the way it offers the possibility to represent our mental perception and organisation of the reality, or the world we live in: “the photoplay tells us the human story by overcoming the forms of the outer world, namely, space, time, and causality, and by adjusting the events to the forms of the inner world, namely, attention, memory, imagination, and emotion” (Münsterberg [1916] 2004, 402)
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