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Books on the topic 'Independent video game'

Author: Grafiati

Published: 24 April 2022

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1

Terry, Borst, ed. End-to-end game development: Creating independent serious games and simulations from start to finish. Boston: Focal Press, 2010.

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2

Sotamaa, Olli, and Jan Svelch, eds. Game Production Studies. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725439.

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Video games have entered the cultural mainstream and now rival established forms of entertainment such as film or television in terms of economic profits. As careers in video game development become more common, so do the stories about precarious working conditions and structural inequalities within the industry. In Game Production Studies, an international group of researchers takes a closer look at the everyday realities of video game production, ranging from commercial studios to independent creators. Across sixteen chapters, the authors deal with issues related to labour, production routines, or monetization, as well as local specificities. As the first edited collection dedicated solely to video game production, this volume provides a timely resource for anyone interested in how games are made and at what cost.

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3

Iuppa, Nicholas V. End-to-end game development: Creating independent serious games and simulations from start to finish. Boston: Focal Press, 2010.

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4

Iuppa, Nicholas V. End-to-end game development: Creating independent serious games and simulations from start to finish. Boston: Focal Press, 2010.

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5

John, Sedlak, ed. Building XNA 2.0 games: A practical guide for independent game development. Berkeley, CA: Apress, 2008.

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6

Limpach, Odile. The Publishing Challenge for Independent Video Game Developers. CRC Press, 2020. http://dx.doi.org/10.1201/9780367815639.

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7

Limpach, Odile. Publishing Challenge for Independent Video Game Developers: A Practical Guide. Taylor & Francis Group, 2020.

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8

Limpach, Odile. Publishing Challenge for Independent Video Game Developers: A Practical Guide. Taylor & Francis Group, 2020.

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9

Silva, James, and John Sedlak. Building XNA 2.0 Games: A Practical Guide for Independent Game Development. Apress, 2008.

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10

Gibbons, William. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0013.

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This brief conclusion brings together threads from several previous chapters. It begins with a consideration of the independent game The End Is Nigh, a recent postapocalyptic game that contains a soundtrack by the duo Ridiculon consisting of remixed classical works. It then reflects on ways in which the cultural barriers between classical music and video games have weakened in popular culture, emphasizing that games are increasingly recognized for their capability to tell meaningful stories, produce insightful political and cultural commentary, and make artistic statements. It closes by calling attention to the arguably elitist cultural spheres in which biases that favor classical music persist.

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11

Limpach, Odile. Publishing Challenge for Independent Videogame Developers: A Practical Guide. Taylor & Francis Group, 2020.

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12

Limpach, Odile. Publishing Challenge for Independent Videogame Developers: A Practical Guide. Taylor & Francis Group, 2020.

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13

Limpach, Odile. Publishing Challenge for Independent Videogame Developers: A Practical Guide. Taylor & Francis Group, 2020.

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14

Publishing Challenge for Independent Videogame Developers: A Practical Guide. Taylor & Francis Group, 2020.

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15

Juul, Jesper. Handmade Pixels: Independent Video Games and the Quest for Authenticity. MIT Press, 2019.

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16

Juul, Jesper. Handmade Pixels: Independent Video Games and the Quest for Authenticity. MIT Press, 2019.

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17

Juul, Jesper. Handmade Pixels: Independent Video Games and the Quest for Authenticity. MIT Press, 2019.

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18

Richardson, John, Claudia Gorbman, and Carol Vernallis, eds. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.

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This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes. Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema, and television migrated across media. However, the traversal, or “remediation,” from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of “cyberspace,” audiovisual expression has changed dramatically. The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and nonacademic writers (both mainstream and independent)-open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today’s sound and image. All consider the aural dimension, and what Michel Chion calls “audio-vision:” the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.

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