Academic literature on the topic 'Video game aesthetics'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Video game aesthetics.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Video game aesthetics"
1
Kjeldgaard-Christiansen, Jens. "Narrative video game aesthetics and egocentric ethics." MedieKultur: Journal of media and communication research 36, no. 68 (October 1, 2020): 088–106. http://dx.doi.org/10.7146/mediekultur.v36i68.118777.
Full textAbstract:
This article argues that video gaming allows for player-focused (egocentric) moral experience that can be distinguished from the other-focused (allocentric) moral experience that characterizes literature and film. Specifically, a Deweyan perspective reveals that video games aff ord fi rst-personal rehearsals of moral scenarios that parallel how, in real life, individuals mentally rehearse the diff erent courses of moral action available to them. This functional equivalence is made possible because the aesthetics of video games bear unique affinities to the human moral imagination. However, whereas the moral imagination may be limited in terms of the complexity and vividness of its analog imaginings, the ethically notable video game may draw on the medium’s digital capacities in order to stage elaborate and emotionally compelling ethical rehearsals. The article concludes by applying this perspective to the ethically notable video game Undertale.
2
Waszkiewicz, Agata, and Martyna Bakun. "Towards the aesthetics of cozy video games." Journal of Gaming & Virtual Worlds 12, no. 3 (October 1, 2020): 225–40. http://dx.doi.org/10.1386/jgvw_00017_1.
Full textAbstract:
While among game journalists and developers the term ‘cozy games’ has recently been gaining popularity, the concept still rarely is discussed in detail in academic circles. While game scholars put more and more focus on the new types of casual games that concentrate mostly on starting discourses on mental health, trauma and the experiences of marginalized people (often referred to as ‘empathy games’), the discussion would benefit from the introduction of the concept of coziness and the use of more precise definitions. The article discusses cozy aesthetics, showing that their popularity correlates with sociopolitical changes especially in Europe and the United States. First, cozy games are defined in the context of feminist and inclusive design. Second, it proposes three types of application of coziness in games depending on their relationship with functionality: coherent, dissonant and situational.
3
Putra, Ricky Widyananda. "Virtual Aesthetic on Dreadeye VR Game." RSF Conference Series: Business, Management and Social Sciences 1, no. 6 (December 20, 2021): 24–28. http://dx.doi.org/10.31098/bmss.v1i6.464.
Full textAbstract:
Indonesia is very rich in myths that exist in society, the wealth of myths found in the archipelago is illustrated by the many community stories that are still found today. One example is the myth about Indonesian ghosts and their various frightening forms. Fear arises from human ignorance of something and develops into a wild fantasy in humans, until finally it can be accepted by human logic. This can be seen from the many kinds of entertainment media that take the theme of horror, one of the media currently used is video games. One of the games from Indonesia that has developed this virtual aesthetic using 3D visualization technology is the game studio Digital Happiness from Bandung, with the game title Dreadeye VR. This game is a Virtual reality game where to play it requires a VR device. With the concept of Virtual reality, this game provides deeper interactivity for users to explore real spaces in the virtual world. Virtual reality brings a new experience for users to continue to enjoy objects in the game, even if they do not make direct contact. This can lead to being carried away to bring new meaning to each individual. So, the problem of this research is, how the Dreadeye VR game presents virtual aesthetics for the players and the purpose of this research is to find out the factors of the formation of virtual aesthetics in the Dreadeye VR game. The methodology of this research is qualitative, while the approach and theory used is MDA (Mechanic, Dynamic, Aesthetic), the MDA approach describes each interrelated component such as mechanics, dynamics, and aesthetics. Mechanics explain programming and game rules, dynamics describe interactive games and playing experiences, aesthetics describe the sensations felt when interacting with games.
4
Bakels, Jan-Hendrik. "Steps towards a Phenomenology of Video Games—Some Thoughts on Analyzing Aesthetics and Experience." Eludamos: Journal for Computer Game Culture 11, no. 1 (September 3, 2021): 71–97. http://dx.doi.org/10.7557/23.6354.
Full textAbstract:
This paper aims at conceiving a heuristic framework for analyzing video game aesthetics as well as the ways in which these aesthetics are experienced. As the main point of departure for the thoughts laid out throughout the article, I turn to phenomenological contributions to film, media and game studies—with a special emphasis on approaches to kinaesthesia. After discussing essential papers on the kinaesthetic experience of playing video games as well as drawing on a phenomenological approach to the intersubjective sharing of affects by means of kinaesthesia conceived within the field of developmental psychology, I turn to a series of brief game-analytical sketches that are supposed to highlight certain aspects of experiencing time, space, and materiality while playing video games. Finally, the specific quality of interactive intersubjectivity in video gaming is discussed, resulting in the introduction of the theoretical concept of auto-affectivity.
5
Sf. Luthfie Arguby Purnomo, Dyah Nugrahani, Sf Lukfianka Sanjaya Purnama,, SF Luthfie Arguby Purnomo, and Dyah Nugrahani. "Let the Game Begin: Ergodic as an Approach for Video Game Translation." Register Journal 9, no. 2 (January 30, 2017): 107. http://dx.doi.org/10.18326/rgt.v9i2.696.
Full textAbstract:
This paper attempts to propose ergodic as an approach for video game translation. The word approach here refers to an approach for translation products and to an approach for the translation process. The steps to formulate ergodic as an approach are first, Aarseth’sergodic literature is reviewed to elicit a basis for comprehension toward its relationship with video games and video game translation Secondly, taking the translation of Electronic Arts’Need for Speed: Own the City, Midway’s Mortal Kombat: Unchained, and Konami’s Metal Gear Solid, ergodic based approach for video game translation is formulated. The formulation signifies that ergodic, as an approach for video game translation, revolves around the treatment of video games as a cybertext from which scriptons, textons, and traversal functions as the configurative mechanism influence the selection of translation strategies and the transferability of variables and traversal function, game aesthetics, and ludus and narrative of the games. The challenges countered when treating video games as a cybertext are the necessities for the translators to convey anamorphosis, mechanical and narrative hidden meaning of the analyzed frame, to consider the textonomy of the games, and at the same time to concern on GILT (Globalization, Internationalization, Localization, and Translation).
6
Shedko, I. I. "Video Game Art Styles." Art & Culture Studies, no. 4 (December 2021): 382–95. http://dx.doi.org/10.51678/2226-0072-2021-4-382-395.
Full textAbstract:
The article examines the graphic styles that have arisen in the video game industry due to the technical features and development of this media. These styles are widely used and starting to go beyond the industry into the field of contemporary art. Despite the fact that pixel art is mainly used in the creation of video games, it has already become an independent form of visual style. Contemporary artists such as the Russian digital artist and designer under the pseudonym Uno Morales and the artist Natalya Struchkova turn to the pixel style when creating their works. Like the pixel art, voxel graphics has moved into the category of the game visual style, which employs an impressive community of digital artists. Low рoly graphics have modified from the main graphics of three-dimensional games, which look technically imperfect, into the category of an artistic style that forms a recognizable, attractive and unique geometric aesthetics of the image. We can trace the transformation of video game graphics, which have arisen as a result of technical constraints, into separate art styles: pixel art, voxel art, low рoly style, the minimalist style of the first classic video games. These styles are gradually becoming an independent visual unit that does not depend on the video game product as a whole.
7
Purnama, SF Lukfianka Sanjaya, SF Luthfie Arguby Purnomo, and Dyah Nugrahani. "Let the Game Begin: Ergodic as an Approach for Video Game Translation." Register Journal 9, no. 2 (December 1, 2016): 107. http://dx.doi.org/10.18326/rgt.v9i2.107-123.
Full textAbstract:
This paper attempts to propose ergodic as an approach for video game translation. The word approach here refers to an approach for translation products and to an approach for the translation process. The steps to formulate ergodic as an approach are first, Aarseth’sergodic literature is reviewed to elicit a basis for comprehension toward its relationship with video games and video game translation Secondly, taking the translation of Electronic Arts’Need for Speed: Own the City, Midway’s Mortal Kombat: Unchained, and Konami’s Metal Gear Solid, ergodic based approach for video game translation is formulated. The formulation signifies that ergodic, as an approach for video game translation, revolves around the treatment of video games as a cybertext from which scriptons, textons, and traversal functions as the configurative mechanism influence the selection of translation strategies and the transferability of variables and traversal function, game aesthetics, and ludus and narrative of the games. The challenges countered when treating video games as a cybertext are the necessities for the translators to convey anamorphosis, mechanical and narrative hidden meaning of the analyzed frame, to consider the textonomy of the games, and at the same time to concern on GILT (Globalization, Internationalization, Localization, and Translation).KeywordsErgodic ; Translation Approach; Video Game Translation ; Textonomy; Anamorphosis
8
Purnama, SF Lukfianka Sanjaya, SF Luthfie Arguby Purnomo, and Dyah Nugrahani. "Let the Game Begin: Ergodic as an Approach for Video Game Translation." Register Journal 9, no. 2 (December 1, 2016): 107. http://dx.doi.org/10.18326/rgt.v9i2.1148.
Full textAbstract:
This paper attempts to propose ergodic as an approach for video game translation. The word approach here refers to an approach for translation products and to an approach for the translation process. The steps to formulate ergodic as an approach are first, Aarseth’sergodic literature is reviewed to elicit a basis for comprehension toward its relationship with video games and video game translation Secondly, taking the translation of Electronic Arts’Need for Speed: Own the City, Midway’s Mortal Kombat: Unchained, and Konami’s Metal Gear Solid, ergodic based approach for video game translation is formulated. The formulation signifies that ergodic, as an approach for video game translation, revolves around the treatment of video games as a cybertext from which scriptons, textons, and traversal functions as the configurative mechanism influence the selection of translation strategies and the transferability of variables and traversal function, game aesthetics, and ludus and narrative of the games. The challenges countered when treating video games as a cybertext are the necessities for the translators to convey anamorphosis, mechanical and narrative hidden meaning of the analyzed frame, to consider the textonomy of the games, and at the same time to concern on GILT (Globalization, Internationalization, Localization, and Translation).KeywordsErgodic ; Translation Approach; Video Game Translation ; Textonomy; Anamorphosis
9
Anderson, Sky LaRell. "The interactive museum: Video games as history lessons through lore and affective design." E-Learning and Digital Media 16, no. 3 (March 7, 2019): 177–95. http://dx.doi.org/10.1177/2042753019834957.
Full textAbstract:
This article approaches games from the perspectives of design and analysis in order to describe how games might employ pedagogical strategies that capitalize on their strengths as interactive media while avoiding the pitfalls of traditional learning games. Specifically, it draws attention to how games employ world building through lore—such as through item text descriptions—as well as affective game design aesthetics to create a learning experience closer in similarity to touring a museum than reading a textbook. Describing this phenomenon as the interactive museum, the article discusses how the concept operates through an analysis of the game Valiant Hearts: The Great War. The article first addresses games as teaching tools, including their potential to teach about historical wars, while paying close attention to the ethical dilemma of producing an entertaining game that also aims to teach. The design analysis begins by examining item text descriptions, lore and historical world building before describing the affective aesthetic of the interactive museum. The article concludes with a discussion on games’ potential use of tangential learning as a method to teach through interactivity.
10
Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 54–63. http://dx.doi.org/10.17816/vgik10154-63.
Full textAbstract:
Abstract: According to recent research, video games are recognized as a new kind of art in the 21st century. Is it possible to distinguish the concepts of "entertainment" and "art" when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of "personal management" of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling, and virtual aesthetics modernized the classical thesis of "life as a game" into a new philosophical concept. There are more and more attempts in succession to create a full-fledged virtual reality where a person could feel oneself be an individualized god, commanding over all the processes taking place with the one and ones life. The ultimate goal is the creation of such a global "game world" in which every person would be able to try oneself in any social role or avatar, building relationships with anyone, playing and enjoying it. So this desire for an interactive fusion of game forms with the objective reality that we are accustomed to is forming a rich and multilayered cultural platform nourishing diverse areas of contemporary art. The game industry has gone a long way of its development as a form of art. Nowadays video games and movies imitate each other and combine mixed aesthetic trends - the boundary between the Game and the Film is being increasingly blurred. On the one hand, games tend to the cinema, using professional directing, scriptwriting and cast. On the other hand, mainstream fiction of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for the contemporary mass audience.
Dissertations / Theses on the topic "Video game aesthetics"
1
Wilson, Jason Anthony. "Gameplay and the Aesthetics of Intimacy." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365610.
Full textAbstract:
This thesis examines early videogames in relation to a number of current and emerging topics in videogame aesthetics.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts Media and Culture
Arts, Education and Law
Full Text
2
Sweeney, Mark Richard. "The aesthetics of videogame music." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:70a29850-0c0d-4abd-a501-e75224fa856a.
Full textAbstract:
The videogame now occupies a unique territory in contemporary culture that offers a new perspective on conceptions of high and low art. While the fear that the majority of videogames 'pacify' their audience in an Adornian "culture industry" is not without justification, its reductionism can be countered by a recognition of the diversity and aesthetic potential of the medium. This has been proposed by sociologist, Graeme Kirkpatrick, although without close attention to the role of music. Videogame music often operates in similar ways to music in other mixed-media scenarios, such as film, or opera. In the same way that film music cannot be completely divorced from film, videogame music is contingent on and a crucial part of the videogame aesthetic. However, the interactive nature of the medium - its différance - has naturally led to the development of nonlinear musical systems that tailor music in real time to the game's dynamically changing dramatic action. Musical non-linearity points beyond both music and videogames (and their respective discourses) toward broader issues pertinent to contemporary musicology and critical thinking, not least to matters concerning high modernism (traditionally conceived of as resistant to mass culture). Such issues include Barthes's "death of the author", the significance of order/disorder as a formal spectrum, and postmodern conceptions and experiences of temporality. I argue that in this sense the videogame medium - and its music - warrants attention as a unique but not sui generis aesthetic experience. Precedent can be found for many of the formal ideas employed in such systems in certain aspects of avant-garde art, and especially in the aleatoric music prevalent in the 1950s and 60s. This thesis explores this paradox by considering videogames as both high and low, and, more significantly, I argue that the aesthetics of videogame music draw attention to the centrality of "play" in all cultural objects.
3
Morales, Matthew. "Concerning Virtual Reality and Corporealized Media: Exploring Video Game Aesthetics and Phenomenology." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7343.
Full textAbstract:
Since the birth of the New Hollywood blockbuster out of the Hollywood Renaissance in the 1970s, popular moving image media has continually exhibited an intense interest in play with Newtonian physics and tactile, immediate experience. As the entertainment industry has moved further away from analog and celluloid and deeper into a digital media space, we have begun to see new a new breed of media project that differently engages with our sensorium in order to newly use (and abuse) this interest. I term this digital media project “corporealized media.” Corporealized media, as I define it, refers to media that includes, but is not limited to, the current undertaking in virtual reality technology and other media that has the primary focus of calling attention to or recognizing the user’s physicality, corporeal form, and embodiment. Through phenomenological readings of contemporary corporealized works, I suggest that current popular use of corporealized media is potentially dangerous and inhibiting to society. It has the ability not just to inform aesthetics, but also to shape our greater understanding of our potential connections to others. Instead of embracing physical contraction, we should aim to collectively accept the possible expansion that abstraction in media allows.
4
Martis, Nicholas Samuel. "Learning to Be Human by Pretending to Be Elves, Dwarves, and Mages: A Phenomenological Aesthetic of Video Games." Thesis, Boston College, 2014. http://hdl.handle.net/2345/3886.
Full textAbstract:
Thesis advisor: Eileen SweeneyThis paper combines principles from aesthetic cognitivism with phenomenological embodiment as explained by Maurice Merleau-Ponty in order to construct both an argument for video games as a form of art as well as a method for appreciating them. I argue that the unique status of video games as interactive fictions warrants an adjusted set of aesthetic criteria. My proposed method of examination involves the concept of "fictional embodiment" in which an appreciator imaginatively undergoes the experiences of the video game character. After establishing this framework the paper applies it to narrative and emotion in video games before moving on to extended examples
Thesis (BA) — Boston College, 2014
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
Discipline: Philosophy
5
Schrank, Brian. "Play beyond flow: a theory of avant-garde videogames." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/42865.
Full textAbstract:
Videogame tinkerers, players, and activists of the 21st century are continuing, yet redefining, the avant-garde art and literary movements of the 20th century. Videogames are diverging as a social, cultural, and digital medium. They are used as political instruments, artistic experiments, social catalysts, and personal means of expression. A diverse field of games and technocultural play, such as alternate reality games, griefer attacks, arcade sculptures, and so on, can be compared and contrasted to the avant-garde, such as contemporary tactical media, net art, video art, Fluxus, the Situationists, the work of Pollock or Brecht, Dada, or the Russian Formalists. For example, historical avant-garde painters played with perspectival space (and its traditions), rather than only within those grid-like spaces. This is similar in some ways to how game artists play with flow (and player expectations of it), rather than advancing flow as the popular and academic ideal. Videogames are not only an advanced product of technoculture, but are the space in which technoculture conventionalizes play. This makes them a fascinating site to unwork and rethink the protocols and rituals that rule technoculture. It is the audacity of imagining certain videogames as avant-garde (from the perspective of mainstream consumers and art academics alike) that makes them a good candidate for this critical experiment.
6
Girina, Ivan. "Cinematic games : the aesthetic influence of cinema on video games." Thesis, University of Warwick, 2015. http://wrap.warwick.ac.uk/74038/.
Full textAbstract:
During its first decade, Game Studies debate mainly revolved around the juxtaposition between two perspectives: the one of ludology and the one of narratology, each positing a primary quality of video games against the other. The study of the relationship between cinema and video games got somehow caught in the crossfire between these two fields. In this work, I investigate the extent to which representation in video games is connected to cinema and its representational codes. A number of authors before challenged this assumption, theorising models that only partially connect the cinematic form to video games. Such investigations have always started from the ludologically educated assumption that video games are different from cinema and, therefore, for the premises of this comparison to be considered “vitiated”, only tangentially useful due to the irreconcilably different nature of the two media. The adjective “cinematic” is a concept constantly evoked in cultural discourses concerning video games. Magazines, reviewers, critics, but also designers, artists, users and commentators (even scholars) often summon the idea of cinematic games in the attempt of describing some peculiar features that share affinities with films and suggesting that video games possess the aura of the big screen. Cinematic games are born at the crossroads between interactive movies and video games, for which the cinematic expression is retained by means of audiovisual representation while keeping the action in the hands of the player. Due to the vast scale of the subject, my work focuses on relatively recent developments in game design which have yet to be fully investigated, and seeks to extend existing attempts to apply the tools of film theory to Game Studies. A secondary value of this work is an annotation on the disengagement of moving image scholars with video games, and it partly serves as an invocation for this to change.
7
Bratkowski, Tad. "The Aesthetic Experience of Video Games: A Pluralistic Approach." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/799.
Full textAbstract:
In this dissertation, I make a serious philosophic application of several aesthetic theories to the emerging medium of video games. I look at concepts such as the play of art, psychical distancing, and an experience, and apply each of these to a representative video game. Hence, I use a variety of aesthetic works, but apply these in a pluralistic manner. The thesis I defend is that a number of specific video games offer possibilities for aesthetic experience that can be comprehended through these traditional aesthetic theories. The purpose of my project is not a comparative one among these theories: I do not argue that any one of these is definitive in application to all video games. Instead, I hold these theories in tension by showing that each has practical merit in being applied to different games I use a variety of aesthetic approaches to argue that a specific game exemplifies the aesthetic value which is at the core of a particular theory. I apply John Dewey's notion of an experience as a single, distinctive whole consisting of parts in unity to the music-based game Rock Band. To consider the distance between the player of a video game and the game's content, I discuss Edward Bullough's theory of psychical distance and apply this concept to a violent game such as Grand Theft Auto IV. Finally, I consider Hans-Georg Gadamer's thoughts on the play of art and the connection of play to seriousness and apply these thoughts to a game which integrates a sense of playfulness with serious themes: Braid.
8
Fidalgo, Christopher J. "Art, Gaut and Games: the Case for Why Some Video Games Are Art." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/5.
Full textAbstract:
In this paper, I argue that there are some video games which are art. I begin my paper by laying out several objections as to why video games could not be art. After laying out these objections, I present the theory of art I find most persuasive, Berys Gaut’s cluster concept of art. Because of the nature of Gaut’s cluster concept, I argue that video games, as a medium of expression, do not need to be defended as a whole. Rather, like all other media of expression, only certain works are worthy of the title art. I then introduce and defend several games as art. After, I return to the initial objections against video games and respond in light of my defended cases. I conclude that video games, as a medium of expression, are still growing, but every day there are more examples of video games as art.
9
Thomas, Bryant David. "New Retro: An Exploration of Modern Video Games With A Retro Aesthetic." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1493401505332341.
Full text
10
Rodríguez, Bruno. "Purchasing behaviour on aesthetic items in online video games with real currency : The case of Counter Strike: Global Offensive." Thesis, Uppsala universitet, Medier och kommunikation, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-331012.
Full textAbstract:
Over the last decade, buying in-game content with real money has become a more common practice among players in order to unlock exclusive content in video games. Prior research has mainly focused on those functional digital items that provide an advantage to the buyer. This thesis aims to determine the underlying factors that influence video game players to purchase purely aesthetic virtual items.Prior studies on the field of video games, gaming business models and purchasing behaviour were reviewed and a theoretical framework focused on behavioural sciences, psychology and customer culture related theories was designed to interpret the results of a quantitative study. The popular FPS (First Person Shooter), Counter Strike Global Offensive was the selected game to carry out the study. A web-based questionnaire was distributed in various specialized online forums, providing a total of 1006 respondents. A linear regression was the selected method to test the formulated model. Results showed a strong influence of emotional and symbolic perceived values in the purchase intention of aesthetic virtual items, while gaming experience and enjoyment had a minor impact.
Books on the topic "Video game aesthetics"
1
Aesthetic theory and the video game. Manchester: Manchester University Press, 2011.
Find full text
2
Kirkpatrick, Graeme. Aesthetic theory and the video game. Manchester: Manchester University Press, 2011.
Find full text
3
Rautzenberg, Markus. Spiegelwelt: Elemente einer Aisthetik des Bildschirmspiels. Berlin: Logos, 2002.
Find full text
4
Papale, Luca. Estetica dei videogiochi: Percorsi, evoluzioni, ibridazioni. Roma: UniversItalia, 2013.
Find full text
5
1972-, Swalwell Melanie, and Wilson Jason 1974-, eds. The pleasures of computer gaming: Essays on cultural history, theory, and aesthetics. Jefferson, N.C: McFarland & Co., 2008.
Find full text
6
Ndalianis, Angela. Neo-Baroque aesthetics and contemporary entertainment. Cambridge, MA: MIT Press, 2004.
Find full text
7
Neo-Baroque aesthetics and contemporary entertainment. Cambridge, Mass: MIT Press, 2004.
Find full text
8
Guynes, Sean, and Dan Hassler-Forest, eds. Star Wars and the History of Transmedia Storytelling. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462986213.
Full textAbstract:
Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies’ projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world’s most profitable transmedia franchise.
9
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.
Full textAbstract:
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).
Book chapters on the topic "Video game aesthetics"
1
Leichter, Magdalena. ""Wind's howling." Meteorological Phenomena as Atmospheres in Digital Games." In Mental Health | Atmospheres | Video Games, 161–76. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462645-014.
Full textAbstract:
This article explores in-game atmospheres as meteoritical phenomena and aesthetic spaces. The example of wind shows specific means of referentiality used to depict weather in digital games. Considering both philosophical approaches to atmospheres as well as previous observations on meteorological phenomena in film, literature and digital games, this contribution analyzes three games ("The Witcher 2: Wild Hunt", "Ghost of Tsushima", and "The Legend of Zelda: Breath of the Wild") and the role the wind plays in creating their respective game world and atmosphere, creating an environment for meaningful play.
2
Mészáros, Tímea. "The book as framing device in exploration games." In Buch-Aisthesis, 103–18. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839461082-006.
Full textAbstract:
Books in exploration video games often play a role which goes beyond serving as props or decorative items. This essay argues that, beside their aesthetic dimension, these artifacts also fulfil transmedial and metamedial purposes as well as contributing to the gameplay and the game narrative.
3
Rough, Brock. "Videogames as Neither Video nor Games." In The Aesthetics of Videogames, 24–41. New York : Routledge, 2018. | Series: Routledge research in aesthetics ; 2: Routledge, 2018. http://dx.doi.org/10.4324/9781315210377-3.
Full text
4
van Dreunen, Joost. "The Aesthetic Vocabulary of Video Games." In Computer Games as a Sociocultural Phenomenon, 3–11. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583306_1.
Full text
5
Johnson, Mark R. "The History of Cyberspace Aesthetics in Video Games." In Cyberpunk and Visual Culture, 139–54. New York: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315161372-10.
Full text
6
Torres, Mateo Terrasa. "MPF Framework: An Aesthetic and Phenomenological Approach to Ludic Difficulty in Video Games." In Communications in Computer and Information Science, 32–45. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-37983-4_3.
Full text
7
Davenport, Alice. "“Beauty Sleeping in the Lap of Horror”: Landscape Aesthetics and Gothic Pleasures, from The Castle of Otranto to Video Games." In Gothic Landscapes, 71–103. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-33165-2_4.
Full text
8
Olsen, Sophus Béneé, Emil Rosenlund Høeg, and Cumhur Erkut. "Embodied and Sonic Interactions in Virtual Environments: Tactics and Exemplars." In Sonic Interactions in Virtual Environments, 219–35. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-04021-4_7.
Full textAbstract:
AbstractAs the next generation of active video games (AVG) and virtual reality (VR) systems enter people’s lives, designers may wrongly aim for an experience decoupled from bodies. However, both AVG and VR clearly afford opportunities to bring experiences, technologies, and users’ physical and experiential bodies together, and to study and teach these open-ended relationships of enaction and meaning-making in the framework of embodied interaction. Without such a framework, an aesthetic pleasure, lasting satisfaction, and enjoyment would be impossible to achieve in designing sonic interactions in virtual environments (SIVE). In this chapter, we introduce this framework and focus on design exemplars that come from a soma design ideation workshop and balance rehabilitation. Within the field of physiotherapy, developing new conceptual interventions, with a more patient-centered approach, is still scarce but has huge potential for overcoming some of the challenges facing health care. We indicate how the tactics such as making space, subtle guidance, defamiliarization, and intimate correspondence have informed the exemplars, both in the workshop and also in our ongoing physiotherapy case. Implications for these tactics and design strategies for our design, as well as for general practitioners of SIVE are outlined.
9
"VIDEO GAME AESTHETICS." In Understanding Video Games, 105–39. Routledge, 2009. http://dx.doi.org/10.4324/9780203930748-11.
Full text
10
"VIDEO GAME AESTHETICS." In Understanding Video Games, 129–68. Routledge, 2013. http://dx.doi.org/10.4324/9780203116777-11.
Full textConference papers on the topic "Video game aesthetics"
1
Cobos, Miguel, and Daniel Ripalda. "Production of educational videogame from the design document." In Intelligent Human Systems Integration (IHSI 2022) Integrating People and Intelligent Systems. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100996.
Full textAbstract:
This work aims to promote environmental awareness in children, as a philosophy of life, to promote a culture of care for the ecosystem in their family and social environment. From the field of video games, we wanted to achieve the proposed objective, for this we started from the design document, based on Rogers' model. Prototypes were developed, levels were designed, resources were placed in the scenario, physics and mechanics were tested. The agile Scrum methodology and the Unity video game engine with C# scripts were considered for the development. The video game consists of a superhero of nature with three levels, was generated in its initial phase to be tested with the target audience. The results obtained from a control group of children from 7 to 10 years old are presented. A user experience evaluation method was applied by inspection to obtain results related to usability heuristics, Gestalt principles, interactions, and perception of aesthetics.
2
Xu, Chengkai, Weiting Li, Laila Zhong, Xuewei Li, Qingyuan Lyu, Yuran Guo, and Fang Liu. "Tradition, Desire, Techno-Orientalism and Popularity: Oriental Elements in the 21st-century Cyberpunk Video Games." In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002894.
Full textAbstract:
Cyberpunk is one genre with distinctive features, which depicts an apocalyptic world seeing technology as associated with capitalist oligarchy with highly solidified social identity and social class (Akşit and Nazlı, 2021). Nowadays, research about cyberpunk video games mainly focuses on the visual aesthetics of cyberpunk video games (Johnson, 2017). We adopted content analysis first to identify the oriental visual elements in 6 video games: Cyberpunk 2077 (CD Projekt RED, 2020) (CP2077), Gamedec (Anshar Studios, 2021), The Red Strings Club (Deconstructeam, 2018) (TRSC), VA-11 Hall-A: Cyberpunk Bartender Action (Sukeban Games, 2016) (VA-11 Hall-A), Shadowrun: Hongkong (Harebrained Schemes, 2015) (SRHK), and Tales of the Neon Sea (Palm Pioneer, 2019) (TNS), then analyze the historical and ideological reasons of using these elements on behalf of semiotic theory. This study reveals that using such elements in the 21st-century cyberpunk video games reinforces the stereotypes of Techno-Orientalism to a certain degree. However, these elements are mostly decontextualized as a representation of oriental culture and have no distinct error of oriental elements used but are mainly used to identify art style, which could be a helpful strategy for commercial selling.
3
Yi, Peiqi, Yunzhu Hu, Xiaoxue Zhang, Hui Wang, and Xin He. "Myopia Prevention Game Interface Design Based on Children's Cognition." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002072.
Full textAbstract:
This paper is based on the cognitive characteristics of Chinese children. Through literature review and user study, we understand that children prefer pictures and videos for information acquisition, and they are more concerned with saturated colours. What’s more children are more willing to experience and interact in action. Therefore, this article addresses the above characteristics, takes the prevention of children's myopia as the application scenario, and combines the most common information media that children currently come into contact with, to design a game interface that is suitable for children's cognitive characteristics. The design runs in the form of a game that can make children willing to interact and willing to accept the treatment of myopia prevention. And using a smartwatch, which is commonly used by Chinese children as an information medium, saturated colours and cute, rounded design elements are used to ultimately design the game interface. Finally, the paper combines interviews and research with children to understand that the design meets the cognitive and aesthetic needs of children and has gained their approval.
4
Huang, Ran, Yanfei zhu, and ChengQi Xue. "A comparative study on user experience of four apps for renting house based on D-Lab eye-tracking experiment." In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002919.
Full textAbstract:
The popularity of mobile Internet and the application of big data and artificial intelligence technology have brought new development opportunities for the online rental industry. A large number of rental apps have rapidly occupied the market. Rental apps can help tenants screen and reserve housing in real time according to their needs, so users' demand for products has gradually changed from satisfying basic functional needs to providing good user experience.Objective: Because existing researches mainly focus on the construction of user experience index system of rental APP and the subjective evaluation of the user experience of APP, few scholars have conducted researches on the user experience of rental APP based on physiological experiments. Therefore, this study applied the eye-movement technology of D-lab experimental platform to conduct a comparative study on the user experience of four representative rental apps, and compared the functions, interactive process architecture and interface layout design of the four apps, providing reference value for the design of similar apps.Content: In this experiment, four representative rental apps in design are selected as experimental materials, namely Anjuke, Beike, Ziroom and Baletu. The experimental task was to ask the participants to select the matched housing resources and complete the rental on the four apps according to the given rental conditions. The whole experiment was completed based on the D-Lab experimental platform, which could record the interactive behaviors and eye movement data of participants during the experiment. After the experiment is completed, participants need to accept the interview of subjective evaluation of user experience, and the experience and existing problems of users in the process of use will be recorded as auxiliary materials for evaluation. Finally, based on interactive behavior video, eye movement data, fixation path diagram and heat map, this paper compared and analyzed the four apps from two aspects of interactive process architecture and interface layout design.Results: (1) The results of eye movement data showed that the order of average gaze count and average saccadic count was Anjuke > Baletu > Ziroom > Beike, which might be because the interface information density of Anjuke was relatively high and the layout lacked regularity, which made it difficult for users to search the target information. The layout of the interface of Ziroom and Beike is sparse, and the interest area of users is less. (2) According to the analysis of user interaction behavior, Anjuke has various functions, and users need to jump to the page several times to select the target function, which is a complicated interaction process; The interface function partition of Baletu is clear, the navigation function division is primary and secondary, and the interaction process is simple. (3) According to the analysis of the interface layout based on the heat map, it can be seen that the functional modules of Anjuke are not clearly divided and the interface layout is not easy to operate; The interface layout of Baletu adopts card design, compact layout, clear structure, and unified color style, good identification and aesthetics.