Relevant bibliographies by topics / Batman (Video game)

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Batman (Video game)'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Batman (Video game)"

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Fawcett, Christina, and Steven Kohm. "Carceral violence at the intersection of madness and crime in Batman: Arkham Asylum and Batman: Arkham City." Crime, Media, Culture: An International Journal 16, no. 2 (August 6, 2019): 265–85. http://dx.doi.org/10.1177/1741659019865298.

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The action-adventure video games Batman: Arkham Asylum (2009) and Batman: Arkham City (2011) draw on familiar comic book narratives, themes and characters to situate players in a world of participatory violence, crime and madness. In the first game, the player-as-Batman is situated in Arkham Asylum, a high-security facility for the criminally insane and supervillains that also temporarily houses a general population of prisoners from Blackgate Penitentiary. The elision of criminality and mental illness becomes amplified in the second game with the establishment of Arkham City, a combined facility that conflates asylum and prison, completely dissolving any distinction between crime and madness. We draw on Rafter’s conceptual framework of popular criminology to seriously interrogate the representation of violence, crime and madness in these games. More than simply texts offering popular explanations for crime, the games directly implicate the player in violence enacted upon the bodies of criminals and patients alike. Violence is necessary to move the action of the game forward and evokes a range of emotional responses from players who draw from personal experience and other cultural and media representations as they navigate the game. We argue that while the game celebrates violence and the brutal conditions of incarceration, it also offers possibilities for subversive and critical readings. While working to affirm assumptions about crime and mental illness, the game also provides a visceral and visual critique of excessive punishment by the state as a source of injustice for those deemed mad or bad.
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Sabourin, Randy, and Rukhsana Ahmed. "Empathizing With the Criminally Insane." International Journal of Cyber Behavior, Psychology and Learning 10, no. 1 (January 2020): 54–73. http://dx.doi.org/10.4018/ijcbpl.2020010105.

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Arkham Asylum is home to some of popular culture's most notorious super villains. The neglect and inadequate care these villains receive mirrors a real-world context where mental illness is surrounded by stigma, misunderstanding, and poor rehabilitation rates. This study explores the less glossy niches between the action-packed button-mashing on the surface of a popular Batman video game Batman: Arkham Asylum. By pulling back the curtain over the routine treatment of Arkham Asylum's patients (also known as inmates), it presents a set of good practices for improving their care through more effective communication. Recorded audio interviews from the video game constitutes the foundation for this set of good practices tailored to the needs of the fictional facility. Narrative inquiry is used to pull these recommendations from the data. Based on narrative elements found in the data, this study recommends an empathy-driven and preventative approach to treating Gotham's criminally insane population.
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Nilsson, Johan. "Moments of intermediality: The use of television in joker narratives." Convergence: The International Journal of Research into New Media Technologies 26, no. 2 (July 10, 2018): 386–401. http://dx.doi.org/10.1177/1354856518786010.

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This article uses the concept of intermediality to explore four different adaptations, across three different media, of the infamous supervillain the Joker. Independent of the medium representing him, a recurring practice is to have the Joker engage with media technologies. Television, in particular, is often used, as in the cases discussed here: Tim Burton’s film Batman (1989) and Christopher Nolan’s The Dark Knight (2008), the comic book Batman: Death of the Family (2014), and the video game Batman: Arkham Asylum (2009). Understood as media combination, intermedial referencing (Rajewsky (2005) Intermediality, intertextuality, and remediation: A literary perspective on intermediality. Intermédialités 6: 43–64), and through concepts such as contingency and liveness (Doane (2002) The Emergence of Cinematic Time: Modernity, Contingency, the Archive. Cambridge: Harvard University Press), these intermedial moments, by way of emphasizing the materiality and temporality of media, are found to promote immersion while simultaneously causing tension by destabilizing the act of viewing.
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Żaglewski, Tomasz. "Superhero as transmedium. The stylistic and narrative strategies of remediation in Batman: The Telltale Series." Tekstualia 3, no. 58 (October 15, 2019): 93–110. http://dx.doi.org/10.5604/01.3001.0013.6425.

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The article analyzes the video game Batman: The Telltale Series and its „paratexts” such as comics through the lens of remediation as a basic tool of constructing a transmedia environment. Superheroes depend, to a great extent, on their „transmedia” superpowers as they constantly oscillate between various media iterations and theirs stylistic/narrative features. Superheroes should not be perceived as comic books-based inventions, but rather as entities organically connected with both transmedia visual styles and transmedia modes of storytelling.
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Camargo, Rodolpho. "Tradução audiovisual e video game: análise das legendas em português do jogo Batman: Arkham City." Tradterm 21 (August 4, 2013): 185. http://dx.doi.org/10.11606/issn.2317-9511.tradterm.2013.59363.

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Apesar de o mercado de jogos de <em>video game</em> ser uma indústria em expansão no Brasil e, devido a isso, as publicadoras entenderem a necessidade da tradução de seus títulos para o nosso idioma, há escassez de literatura sobre tradução audiovisual para jogos. Assim, o objetivo deste artigo é analisar as legendas do jogo <em>Batman: Arkham City</em> sob parâmetros técnicos e linguísticos e sugerir legendas adequadas a esses padrões. O eixo dos parâmetros técnicos leva em conta caracteres por segundo, tempo de permanência da legenda na tela e número de linhas por bloco (Araújo, 2006). O eixo dos parâmetros linguísticos leva em conta as escolhas léxico-semânticas e a divisão dos blocos de sentido (Martinez, 2007; Hilgert, 2011). Finalmente, foram apontadas as perdas decorrentes da falta de padronização e das escolhas lexicais inadequadas realizadas pelo legendador.
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Kutovaia, Arina A., and Ekaterina V. Mikhailovskaya. "The Myth of Batman: Intra- and Interdiscursive Transformations." Galactica Media: Journal of Media Studies 2, no. 3 (October 19, 2020): 47–88. http://dx.doi.org/10.46539/gmd.v2i3.115.

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The study focuses on the multimodal discourse of the superhero Batman which is viewed as both a corpus of texts about Batman and a process of their development in various media, such as comics, animation, film, video games. Since the launch of the 1930s’ comics, the discourse has been incessantly developing, getting more and more intertwined with technology and new technology-based arts and industries. The evolution of the discourse can also be accounted for by the changing needs of the audience, as well as the shifts in the audience itself. At present, Batman discourse is comprised of a vast number of media texts, which intersect and influence each other. Each of these presents a new interpretation of the myth, based on the reesthetisization of basic constituent codes. The research aims to cover some aspects that define Batman as a cultural phenomenon of today, such as Batman as part of contemporary mythology and its relatability to the contemporary historical context, authorship in both the multimodal discourse and its media subdiscourses, intertextual and interdiscursive transformations.
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Noorbhai, Habib. "The backlift techniques of cricketers in the Indian Premier League: batting implications for the shorter format." International Sports Studies 42, no. 1 (June 22, 2020): 47–54. http://dx.doi.org/10.30819/iss.42-1.05.

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Cricket batting is a complex movement which can be broken down into a number of components such as the grip, stance, initial movement, backlift, downswing and followthrough. The batting backlift technique (BBT) is an important component of the overall batting technique, when the batsman lifts the bat in preparation for the downswing when impact is made with the ball. Research has demonstrated that the BBT appears to be a key contributing factor to successful batsmanship. For the purpose of this study, video footage of players from the Indian Premier League (IPL) season was analysed (n = 30). This was used to identify the type of BBT employed by the batsmen at the moment the bowler released the ball. The number of players using a lateral batting backlift technique (LBBT) (n = 27) was significantly greater than those using a straight batting backlift technique (SBBT) (χ2 = 19.2, df = 1, p < 0.001). The results showed that 90% of the top performing IPL batsmen during the 2016 season did not adopt the traditionally taught SBBT. Instead, they adopted a more looped action in which the movement of the bat at the moment the bowler released the ball was in the direction of the slips (i.e.: the fielders positioned at an angle behind the batsmen). From this study, it can be postulated that a LBBT is a key contributing factor for batting success, at least in the shorter version of the game, as represented by T20 cricket. It is suggested that in order to score at a rapid rate, as required in T20 games, a LBBT is more effective for batsmen (particularly for presenting an open face of the bat), whereas a SBBT, which is a more a defensive action, may be more suitable for use in the more extended Test match version of the game.
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Kurniawan, Rudi, and Rizal Yudha Pradatama. "Pembangunan Game 3D Real Time Strategy “Bug Invasion” Berbasis Desktop." Journal of Information Technology 3, no. 2 (August 30, 2021): 28–42. http://dx.doi.org/10.47292/joint.v3i2.61.

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Banyaknya judul-judul baru yang ditawarkan oleh permainan dengan genre Real Time Strategy, dari hasil pengamatan pada kenyataannya belum banyak yang menawarkan mekanisme baru dalam permainan tersebut. Penelitian ini bertujuan untuk menghasilkan sebuah mekanisme baru dengan menawarkan sebuah metode mikro ekonomi. Dengan metode mikro ekonomi permainan dapat memberikan tantangan baru bagi para Pemain berupa pembatasan (boundary) dalam penempatan posisi suatu objek, misalnya banyaknya jumlah bangunan yang dibangun dalam satu area tidak dapat dilakukan seara sembarangan. Pada permainan ini dikembangkan juga sebuah Artificial Intelligence (AI) yang digunakan sebagai kubu lawan dalam sebuah simulasi pertempuran melawan pemain nyata (manusia). Pada proses pembangunan game 3D digunakan metode Multimedia Development Life Cycle (MDLC) yaitu (1) Tahap konsep; (2) Tahap desain; (3) Tahap pengumpulan material (gambar, model character, animasi, video, audio dan lain-lain); (4) Tahap pembuatan (penggabungan semua objek berdasarkan tahap konsep dan tahap desain); (5) Tahap pengujian, alfa serta beta; (6) Tahap pendistribusian (rilis game kepada target pengguna). Adapun tools yang digunakan yaitu Game Engine Unity dengan bahasa pemrograman C#. Dari hasil ujicoba dengan mekanisme ini, permainan baru yang menggunakan sebuah metode mikro ekonomi telah mampu memberikan batasan terhadap penempatan posisi serta banyaknya bangunan yang ditempatkan yaitu dengan cara membuat sebuah border berbentuk lingkaran yang berpusat dimasing-masing town hall Pemain maupun AI. Pembuatan sebuah border yang berbentuk lingkaran digunakan sebagai penanda batas wilayah antara Pemain dan AI. Dengan demikian Pemain maupun AI tidak akan dapat membangun bangunan yang mereka miliki serta mengambil sumber daya yang berada di luar batas dari border/ wilayahnya
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Morris, G., and R. Forrest. "Wham, Sock, Kapow! Can Batman defeat his biggest foe yet and combat mental health discrimination? An exploration of the video games industry and its potential for health promotion." Journal of Psychiatric and Mental Health Nursing 20, no. 8 (August 21, 2013): 752–60. http://dx.doi.org/10.1111/jpm.12055.

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MacDonald, Dani, John Cronin, and Paul Macadam. "Key movements and skills of wicket-keepers in one day international cricket." International Journal of Sports Science & Coaching 13, no. 6 (July 3, 2018): 1156–62. http://dx.doi.org/10.1177/1747954118786849.

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The wicket-keeper is a specialist position within the fielding unit of cricket; however, this position has not been afforded a great deal of attention in empirical research. Therefore, the purpose of this study was to identify the movement and skill demands of wicket-keeping in one day international cricket through video analysis. Television footage of eight games (16 innings) from the 2011 one day international World Cup was analysed using the video analysis package SportsCode. The variables of interest included 7 movement-related activities and 15 skills-related activities from a mean innings of 41 ± 11 overs. Following the crouch action, which is required every ball, the highest average (times per innings) movement activities were the lateral step (78), lateral shuffle (53) and running to the stumps (27). The highest average skill activities were to receive the ball from the field (42), throw underarm (32) and take the ball following the bowler’s delivery (24). The most important skill for a wicket-keeper is the ability to catch the ball, be it with one or both hands, either from an almost stationary position standing close to the batsman, or following an explosive movement such as a dive or sprint. A wicket-keeping specific catching test should reflect this, and include a multitude of catching scenarios. Due to the fact that the wicket-keeper performs repetitive movement in multiple planes, training and movement assessments should take this into account. The findings from this study can assist practitioners in understanding assessment, program and skill development aspects of the wicket-keeper position.
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Dissertations / Theses on the topic "Batman (Video game)"

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Sharp, Weston Taylor. ""LET THE FEAST OF FOOLS BEGIN, BATMAN!": THE TRADITIONAL AND GOTHIC CARNIVALESQUES IN THE SOUND DESIGN OF THE BATMAN: ARKHAM VIDEO GAMES." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2141.

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This paper intends to study carnivalesque elements in the music and sound design of the Batman: Arkham video game franchise. This will be done by examining the ontology of the Batman mythos through the lens of carnivalesque social theory related to the European-American carnival as articulated by Bakhtin and Rabelais.Two expressions of the carnivalesque, the traditional and the Gothic, can be seen and heard in the Arkham video games. These two carnivalesques are essential to understanding both the games themselves and the Batman mythos as a whole. The music and sound design related to selected in-game locales and characters of the Arkham franchise will be studied and linked to the carnivalesque ontology of Batman as an American icon. This study will support the hypothesis that the European-American carnivalesque still plays a literal and figurative role in twenty-first century American society through such icons as Batman.
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Books on the topic "Batman (Video game)"

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Sandler, Corey. Batman Forever: The Video Game: GamePro: Official Player's Guide. San Mateo, CA: Infotainment World, 1995.

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Littlefield, Michael. Lego Batman, the videogame: Prima official game guide. Roseville, CA: Prima Games, 2008.

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Parent's Guide to Video Games. Rocklin, CA: Prima Publishing, 1994.

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Sillar, David, Rusel DeMaria, and Zach Meston. Nintendo Game Boy Secrets. Rocklin, CA: Prima Publishing, 1990.

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Batman, vengeance: Official strategy guide. Indianapolis: Brady Pub., 2001.

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1971-, Owen Michael, ed. Batman: Arkham City. Indianapolis, IN: BradyGames, 2011.

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4-6, 1. Of 2. Nintendo Action Games. Brookfield, USA: Millbrook Press, 1991.

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editors, Consumer Guide. Winning Tips For Nintendo: Newest Game Strategies. Lincolnwood, IL: Signet, 1990.

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Publishing, RH Value. Winning Tips For Nintendo: Newest Game Strategies. Lincolnwood, IL: Publications International, Ltd., 1990.

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Guide, Editiors of Consumer. Winning Tips For Nintendo: Newest Game Strategies. Lincolnwood, IL: Publications International, 1990.

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Book chapters on the topic "Batman (Video game)"

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Arnott, Luke. "Arkham Epic." In Advances in Multimedia and Interactive Technologies, 1–21. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0477-1.ch001.

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This chapter presents a model that explains how the epic is a narrative genre that has become popular across a variety of new media. It demonstrates how the Arkham series of Batman video games – Batman: Arkham Asylum (Rocksteady Studios, 2009), Batman: Arkham City (Rocksteady Studios, 2011), Batman: Arkham Origins (Warner Bros. Games Montreal, 2013), and Batman: Arkham Knight (Rocksteady Studios, 2015) – is constructed as an epic narrative within the larger Batman media franchise. The Arkham series aspires to epic status by eclipsing competing Batman texts or by assimilating those texts into its continuity. The series is an example of how video games now influence the evolution and cross-adaptation of derivative and parallel works such as comics, movies, and other paratexts. The chapter concludes by observing how games like the Arkham series relate to representation and theories of postmodernism.
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Lomax, Tara. "“You Were the Chosen One!”." In The Supervillain Reader, 214–23. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496826466.003.0020.

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In recent years, Harley Quinn has become one of DC Comics most recognizable—and bankable—properties. The character has been featured in numerous comic book series, video games, toy lines, and live-action films, but it was her introduction in Batman: The Animated Series that positioned her in the popular imaginary as The Joker’s psychologically conflicted accomplice and lover. This chapter documents and examines Harley Quinn’s origins and character development in Batman: The Animated Series. The authors deconstruct Harley’s efforts to reconcile her dual roles as victim and victimizer in a cartoon show that, although intended for children, sexualizes her through innuendo and aesthetics, and fetishizes gender violence.
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