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Books on the topic 'Interactive video game'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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1

Solarski, Chris. Interactive Stories and Video Game Art. Boca Raton, FL : Taylor & Francis, 2016.: A K Peters/CRC Press, 2017. http://dx.doi.org/10.1201/b21636.

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2

Playing along: Digital games, YouTube, and virtual performance. Oxford: Oxford University Press, 2012.

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3

Dave, Raybould, ed. The game audio tutorial: A practical guide to sound and music for interactive games. Amsterdam: Boston, 2011.

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4

Music for new media: Composing for videogames, web sites, presentations, and other interactive media. Boston, MA: Berklee Press, 2006.

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5

Michael, Bremer, ed. Simlife: The official strategy guide. Rocklin, CA: Prima Pub., 1993.

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6

Steven, Heller. Becoming a digital designer: A guide to careers in Web, video, broadcast, game and animation design. Hoboken, N.J: John Wiley, 2007.

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7

Nick, Roberts. GameShark: Pocket power guide, authorized. Rocklin, Calif: Prima Pub., 1997.

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8

Gómez, Mario Rubiales. Vídeo digital. Madrid: Anaya Multimedia, 2004.

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9

Gómez, Mario Rubiales. Vídeo digital. 2nd ed. Madrid: Anaya Multimedia, 2005.

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10

Pennsylvania. General Assembly. Task Force on Violent Interactive Video Games. The report of the Task Force on Violent Interactive Video Games. Harrisburg, Pa: Pennsylvania Joint State Government Commission, 2008.

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11

Pennsylvania. General Assembly. Task Force on Violent Interactive Video Games. The report of the Task Force on Violent Interactive Video Games. Harrisburg, Pa: Pennsylvania Joint State Government Commission, 2008.

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12

Pennsylvania. General Assembly. Task Force on Violent Interactive Video Games. The report of the Task Force on Violent Interactive Video Games. Harrisburg, Pa: Pennsylvania Joint State Government Commission, 2008.

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13

What is your quest?: From adventure games to interactive books. Iowa City: University of Iowa Press, 2014.

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14

Video games and interactive media: A glimpse at new digital entertainment. Wellesley, Mass: A.K. Peters, 2006.

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15

Maura, Kennedy, ed. Make your own music videos with Adobe Premiere. New York: Hungry Minds, 2002.

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16

Chris, Klug, ed. Interactive storytelling for video games: A player-centered approach to creating memorable characters and stories. Burlington, MA: Focal Press, 2011.

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17

Simon, Ferrari, and Schweizer Bobby, eds. Newsgames: Journalism at play. Cambridge, Mass: MIT Press, 2010.

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18

Simon, Ferrari, and Schweizer Bobby, eds. Newsgames: Journalism at play. Cambridge, Mass: The MIT Press, 2010.

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19

United, States Congress Senate Committee on Commerce Science and Transportation. The impact of interactive violence on children: Hearing before the Committee on Commerce, Science, and Transportation, United States Senate, One Hundred Sixth Congress, second session, March 21, 2000. Washington: U.S. G.P.O., 2003.

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20

1951-, Dyer-Witheford Nick, and De Peuter Greig 1974-, eds. Digital games: The interaction of technology, culture, and marketing. Montréal: McGill-Queen's University Press, 2003.

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21

Taylor, T. Allan. Opportunities in the Internet, video games, and multimedia. New York, NY: Checkmark Books, 2007.

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22

My avatar, my self: Identity in video role-playing games. Jefferson, N.C: McFarland, 2009.

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23

Write your way into animation: Create a writing career in animation and games. New York: Elsevier, 2010.

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24

Virtual literacies: Interactive spaces for children and young people. New York, NY: Routledge, 2012.

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25

Editoria decima arte?: Contaminazioni multimediali e spericolatezze videoludiche. [Rimini, Italy]: Guaraldi, 2009.

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26

Interactive Stories and Video Game Art: A Storytelling Framework for Game Design. A K Peters/CRC Press, 2017.

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27

The Oxford handbook of interactive audio. Oxford University Press, 2014.

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28

Writing Interactive Music for Video Games: A Composer's Guide. Addison-Wesley Professional, 2014.

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29

Kellman, Noah. The Game Music Handbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938680.001.0001.

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Writing music for games is an art that requires conceptual forethought, specialized technical skill, and a deep understanding of how players interact with games and game audio. The Game Music Handbook embarks on a journey through numerous soundscapes throughout video game history, exploring a series of concepts and techniques that are key to being a successful game music composer. This book organizes key game music scoring concepts into an applicable methodology, describing them with memorable distinctions that leave readers with a clear picture of how to apply them to creating music and sound. Any music composer or musician who wishes to begin a career in game composition can pick up this text and quickly gain a solid understanding of the core techniques for composing video game music, as well as the conceptual differences that separate it from any other compositional field. Some of these topics include designing emotional arcs for nonlinear timelines, the relationship between music and sound design, discussion of the player’s interaction with audio, and more. There is also much to be gained by advanced readers or game audio professionals, who will find detailed discussion of game state and its effect on player interaction, a composer-centric lesson on programming, how to work with version control, information on visual programming languages, emergent audio, music for virtual reality (VR), procedural audio, and other indispensable knowledge about advanced reactive music concepts. The text often explores the effect that music has on a player’s interaction with a game. It discusses the practical application of this interaction through the examination of various techniques employed in games throughout video game history to enhance immersion, emphasize emotion, and create compelling interactive experiences.
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30

Kerins, Mark. Multichannel Gaming and the Aesthetics of Interactive Surround. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.014.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines multichannel sound—specifically 5.1-channel surround sound—in video games, using gaming genres to explore the varying ways that games structure the three-way relationship among a multichannel sound track, onscreen visuals, and the game play itself. This approach uncovers distinct strategies of multichannel usage in platformers, first-person shooters, third-person 3D games, and rhythm games, and shows how these differ from traditional cinematic multichannel uses, especially in the way they problematize the relationship between image and sound. These differing approaches to game aesthetics illustrate different ways of conceiving the relationship among players, their in-game avatars, and the game world, with the sound mixing “rules” programmed into a game revealing the type of immersion and interactivity the game can promote. For example, some strategies reinforce the player–avatar connection, whereas others increase the distance between them. The chapter concludes by considering how industrial and technical factors unique to gaming impact multichannel sound usage.
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31

Bridgett, Rob. Contextualizing Game Audio Aesthetics. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.008.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter is a reflective discourse on the aesthetics and production processes of sound in video games, not only from a technological perspective, but also from the viewpoint that video games are part of an ongoing cultural continuum that deeply involves cinema, music, and other media. The chapter takes the form of a meditative discussion on the practice, process, and craft of designing and directing interactive sound for a game, providing insight into some of the collaborative work that is involved in creating the overall effect of a finished soundtrack for a modern video game. The article makes specific reference to the role and thought processes of the audio director on the video gameScarface: The World is Yours(2006).
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32

Turner, Bill, Jon Warren Lentz, and Ian Chia. Flash: The Future: Pocket PC / DVD / ITV / Video / Game Consoles / Wireless. No Starch Press, 2002.

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33

Frank, Adam. Astronomy: At Play in the Cosmos , with Ebook, Smartwork5, Video Game, and Interactive Simulations. Norton & Company, Incorporated, W. W., 2020.

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34

Frank, Adam. Astronomy: At Play in the Cosmos , with Ebook, Smartwork5, Video Game, and Interactive Simulations. Norton & Company, Incorporated, W. W., 2020.

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35

Corbacho, Antonio Benitez, and Mario Rubiales Gomez. Video Digital, 2006 / Digital Video 2006 (Guia Practica Para Usuarios / Users Practical Guide). Anaya Multimedia, 2005.

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36

A Composers Guide To Game Music. MIT Press Ltd, 2014.

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37

1973-, Collins Karen, ed. From Pac-Man to pop music: Interactive audio in games and new media. Aldershot, Hampshidre, England: Ashgate, 2008.

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38

Revolutionaries at Sony: The making of the Sony PlayStation and the visionaries who conquered the world of video games. New York: McGraw-Hill, 2000.

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39

Bremer, Michael, and Ken Karakotsios. Simlife: The Official Strategy Guide (Secrets of the Games). Prima Publishing, 1993.

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40

Becoming a Digital Designer: A Guide to Careers in Web, Video, Broadcast, Game and Animation Design. Wiley, 2007.

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41

Playing with sound: A theory of interacting with sound and music in video games. The MIT Press, 2013.

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42

Hoffert, Paul. Music for New Media: Composing for Videogames, Web Sites, Presentations and Other Interactive Media (Book & CD). Berklee Press, 2007.

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43

Lebowitz, Josiah. Interactive Storytelling for Video Games. Routledge, 2012. http://dx.doi.org/10.4324/9780240817187.

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44

Natkin, Stephane. Video Games and Interactive Media. A K Peters/CRC Press, 2006. http://dx.doi.org/10.1201/9780367807115.

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45

Prima and Prima Development. GameShark Pocket Power Guide (3rd Edition). 3rd ed. Prima Games, 1998.

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46

CodeBoy, ed. Prima's authorized GameShark pocket power guide: Attack of the 50 foot CodeBoy. Roseville, CA: Prima Games, 2002.

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47

GameShark: Pocket Power Guide. 3rd ed. Rocklin, USA: Prima Publishing, 1998.

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48

GameShark: Pocket Power Guide. 7th ed. Rocklin, USA: Prima Publishing, 2000.

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49

GameShark: Pocket Power Guide. 7th ed. Rocklin, USA: Prima Publishing, 2000.

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50

GameShark: Pocket Power Guide. 4th ed. Rocklin, USA: Prima Publishing, 1999.

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