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Relevant bibliographies by topics / Video game art

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Academic literature on the topic 'Video game art'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Video game art"

1

Durusoy, Murat. "In-Game Photography: Creating New Realities through Video Game Photography." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 42–47. http://dx.doi.org/10.47659/m4.042.art.

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Computers and photography has had a long and complicated relationship throughout the years. As image processing and manipulating capabilities advanced on the computer front, photography re-birthed itself with digital cameras and digital imaging techniques. Development of interconnected social sharing networks like Instagram and Twitter feeds the photographers’/users’ thirst to show off their momentaneous “been there/seen that – capture the moment/share the moment” instincts. One other unlikely front emerged as an image processing power of the consumer electronics improved is “video game worlds” in which telematic travellers may shoot photographs in constructed fantasy worlds as if travelling in real life. While life-like graphics manufactured by the computers raise questions about authenticity and truthfulness of the image, the possible future of the photography as socially efficient visual knowledge is in constant flux. This article aims to reflect on today’s trends in in-game photography and tries to foresee how this emerging genre and its constructed realities will transpose the old with the new photographic data in the post-truth condition fostering for re-evaluation of photography truth-value. Keywords: digital image, lens-based, photography, screenshot, video games

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Wood, Kelli, and David S. Carter. "Art and technology: archiving video games for humanities research in university libraries." Art Libraries Journal 43, no. 4 (October 2018): 185–95. http://dx.doi.org/10.1017/alj.2018.29.

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AbstractOver the past half-century video games have become a significant part of our cultural environment, in part, by leading advances in both technology and artistic innovation. In recent years librarians and researchers have recognized these games as cultural objects that require collection and curation. Developing and maintaining collections of this fast moving and somewhat ephemeral media, however, poses challenges due to constantly advancing technology and a corresponding lack of consistent terminology. This article addresses the literature and critical issues surrounding collections of video games within libraries and presents a case study of the University of Michigan’s Computer and Video Game Archive (CVGA), one of the largest academic archives of its kind. Moreover, video games are situated in a humanistic approach to the field of game studies as the article draws on the relevance of methods from art history and film studies.

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Rizali, Muhammad, Zainal Warhat, and Edwar Zebua. "PENGARUH ELEMEN-ELEMEN DESAIN KOMUNIKASI VISUAL (DKV) BOX ART GAME TERHADAP STORY LINE BERDASARKAN PERSEPSI GAMERS PADA VIDEO GAME POPULER DI INDONESIA." Gorga : Jurnal Seni Rupa 8, no. 2 (September 27, 2019): 295. http://dx.doi.org/10.24114/gr.v8i2.14700.

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AbstrakTujuan penelitian ini adalah untuk mengetahui pengaruh parsial dan simultan elemen gambar, elemen huruf, dan elemen warna DKV desain Box Art Game pada story line video game. Jenis penelitian ini adalah survey eksplanasi. Instrumen dalam penelitian ini menggunakan kuesioner dengan jumlah sampel sebanyak 151 responden gamer yang diperoleh secara on line melalui media sosial face book. Teknik pengambilan sampel menggunakan acak sederhana dengan cara mengupload kuesioner ke jaringan grup media sosial gamer face book. Teknik analisis data yang digunakan dalam penelitian ini adalah analisis regresi berganda. Instrumen penelitian yang digunakan telah diuji terlebih dahulu validitas dan reliabilitasnya. Persamaan regresi linear dengan menggunaan SPSS diperoleh: Y = -1,029 + 0,305 X1 + 0,05 X2 + 0,250 X3 + e. Melalui pengujian hipotesis diperoleh bahwa ada pengaruh parsial elemen gambar (X1) dan elemen warna (X3) terhadap story line (Y) diterima, sedangkan pengaruh elemen huruf (X2) terhadap story line (Y) ditolak. Pengaruh simultan elemen gambar (X1), eleman huruf (X2) dan elemen warna (X3) terhadap story line (Y) diterima. Berdasarkan pengujian hipotesis maka dapat disimpulkan variabel elemen gambar dan elemen warna berpengaruh dalam menjelaskan story line video game. Elemen huruf tidak berpengaruh dalam menjelaskan story line video game. Dalam penelitian ini elemen gambar memberi pengaruh paling besar terhadap story line dengan koefisien regresi 0,305. Secara simultan elemen gambar, eleman huruf dan elemen warna berpengaruh menjelaskan story line video game sebesar 44%.Kata Kunci: desain, box art game, elemen.AbstractThe purpose of this study was to determine the effect of partial and simultaneous image elements, letter elements, and color elements DKV design Box Art Game on the video game story line. This type of research is an explanatory survey. The instrument in this study used a questionnaire with a total sample of 151 gamers who were obtained online through face book social media. The sampling technique uses simple random method by uploading questionnaires to the network network of face book gamers. The data analysis technique used in this study is multiple regression analysis. The research instrument used was tested for its validity and reliability. The linear regression equation using SPSS is obtained: Y = -1,029 + 0,305 X1 + 0,05 X2 + 0,250 X3 + e. Through testing the hypothesis, it was found that there was a partial effect of the image element (X1) and color element (X3) on the story line (Y) received, while the influence of the letter element (X2) on story line (Y) was rejected. The effect of simultaneous image elements (X1), letters (X2) and color elements (X3) on story line (Y) is accepted. Based on hypothesis testing, it can be concluded that the variable image elements and color elements are influential in explaining the story line of video games. The letter element has no effect in explaining the story line of video games. In this study the image element gives the most influence on the story line with a regression coefficient of 0.305. Simultaneously drawing elements, elements of letters and influential color elements explain the video game story line by 44%.. Keywords: desain, box art game, elemen.

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Aditya, Christian. "The Development Of Visual Aspects In Video Games Over The Years." ULTIMART Jurnal Komunikasi Visual 7, no. 2 (November 12, 2016): 18–22. http://dx.doi.org/10.31937/ultimart.v7i2.385.

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This report investigates the importance of creating a realistic environment in order to create an immersive world in digital games. The discussion will start from the history of Digital game development until now, discussing on the limitations of gaming consoles from time to time, and how game designers nowadays keep pushing the boundaries of the visual aspects of their game. Then focusing the discussion on the technical and art aspect of digital game design. By doing the analysis in this report, we can conclude that there are several reason that affects the visual quality of video games, such as the technology of the game console, the limitation of game engine, and also the skill of the game artist itself. Key words : Video Games, Digital Games, Game Console, Environment, Game Engine.

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Gee, James Paul. "Why Game Studies Now? Video Games: A New Art Form." Games and Culture 1, no. 1 (January 2006): 58–61. http://dx.doi.org/10.1177/1555412005281788.

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Dannenberg, Ross, and Josh Davenport. "Top 10 video game cases (US): how video game litigation in the US has evolved since the advent of Pong." Interactive Entertainment Law Review 1, no. 2 (December 2018): 89–102. http://dx.doi.org/10.4337/ielr.2018.02.02.

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Video game litigation in the United States is neither new nor infrequent, and video game developers can learn valuable lessons from cases won, and lost, by others before them. This article examines the evolution of United States intellectual property law from historically narrow roots to classifying video games as an art form deserving broad free speech protection. This article examines seminal cases in a variety of IP areas, including not only copyrights, but also reverse engineering, derivative works, patents, trademarks, rights of publicity, the Digital Millennium Copyright Act, contracts, and freedom of speech. These cases explore the factual and legal limits of American jurisprudence in video game law, including how one's own expression can be limited by the rights of others, permissible and fair use and of others' IP, and the impact these cases have had in the industry. As video games have leveled up into a multi-billion dollar industry, the law has leveled up, too, and this article is the primer you need to level up with it.

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Davis, Jessica Hoffmann. "Unsung heroes: Reconceptualizing a video game as a work of art." Visual Inquiry 10, no. 1 (June 1, 2021): 141–47. http://dx.doi.org/10.1386/vi_00030_1.

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A veteran arts educator’s entrance into the heretofore unknown world of video games, from encountering the community of players to daring a first-hand experience playing Red Dead Redemption 2. Buoyed by her desire to see her actor son’s performance in the game, the author plays to the end and emerges with an understanding of the game as a work of art.

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Jurgens, David, and Roberto Navigli. "It’s All Fun and Games until Someone Annotates: Video Games with a Purpose for Linguistic Annotation." Transactions of the Association for Computational Linguistics 2 (December 2014): 449–64. http://dx.doi.org/10.1162/tacl_a_00195.

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Annotated data is prerequisite for many NLP applications. Acquiring large-scale annotated corpora is a major bottleneck, requiring significant time and resources. Recent work has proposed turning annotation into a game to increase its appeal and lower its cost; however, current games are largely text-based and closely resemble traditional annotation tasks. We propose a new linguistic annotation paradigm that produces annotations from playing graphical video games. The effectiveness of this design is demonstrated using two video games: one to create a mapping from WordNet senses to images, and a second game that performs Word Sense Disambiguation. Both games produce accurate results. The first game yields annotation quality equal to that of experts and a cost reduction of 73% over equivalent crowdsourcing; the second game provides a 16.3% improvement in accuracy over current state-of-the-art sense disambiguation games with WordNet.

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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.

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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.

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Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 50–60. http://dx.doi.org/10.17816/vgik10250-60.

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According to recent research, video games are recognized as a new kind of art of 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 the 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 to 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 cinema, using professional directing, scriptwriting and cast. On the other hand, mainstreamification of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for contemporary mass audience.

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Dissertations / Theses on the topic "Video game art"

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Gartland, Connor. "Making Mori: Emotional Depth and the Art of Video Games." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1400681933.

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Hagström, Anders. "Poetically Man Dwells in Game Space : A Phenomenological Investigation of Video Games as Art." Thesis, Uppsala universitet, Institutionen för speldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-326132.

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The studies of digital games is a young scientific field notable for its interdisciplinary nature that seeks to unite several epistemological positions in order to properly encompass the wide array of questions raised by the subject matter. During the last two decades strides have been made towards the introduction of a unified game theory, with several of the more recently suggested methods coalescing towards a similar end. This paper posits a phenomenological game theory which circumvents the usual aesthetic arguments for a focus on game as space, and analyses what it means to be in that space. The result of the initial reading of mainly three well-known and critically acclaimed digital games strongly indicates that using Heideggerian phenomenological thought reveals things about games as art that a) reinforces the validity of commonly held beliefs in current game theory, and b) suggests new ways forward for game design to improve games through enhancing the player’s comportment into their spaces by means of phenomenological game theory.

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Mittra, Anirudh. "Libero." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/76688.

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Libero is a 2D video game that aims to explore the concepts of dealing with personal issues such as insomnia and anxiety. It is a 2D stealth puzzle game that takes influence from older dungeon-crawlers and rogue-likes from the 1990s as well as inspiration from modern games designed for mobile platforms such as iOS and Android phones. The game experiments with new 2D normal mapping technologies for a unique take on pixel art.
Master of Fine Arts

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Freeman, Lucas Jerome. "Alchemically, an Educational Role-Playing Game." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/89252.

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Alchemically is an educational role-playing game that functions as a classroom aid for boosting middle school and high school students' memorization of molecular formulas and molecule's attributes. The game implements several diverse teaching methodologies, including trial and error, practice and feedback, and the presentation of information from audio and visual cues. It also motivates students to continue learning through both intrinsic and extrinsic motivators. Student players craft molecules by choosing and placing atoms into a crafting table, then bonding them together. To help players build molecules, players can reference a journal that includes images, diagrams, and factual information on the molecules included in the game.
Master of Fine Arts

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Asad, Mariam. "Making it difficult: modernist poetry as applied to game design analysis." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/39617.

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The process of reading a modernist poem is just as much a process of deconstructing it: the language is designed to make meaning through inefficient means, like the aforementioned fragmentation and assemblage. The reader must decode the text. This is what I want to extract as a point of entry to my videogame analysis. The process of reading is not unlike the process of playing. Instead of linguistic structures, a player must navigate a game‟s internal rule system. The pleasure for both the reader and player comes from decoding the poem and game, respectively. I am not making claims that relationships between modernist poetry and videogames are inherent or innate. Similarly, I am not providing a framework to apply one medium to the other. Instead I want to investigate how each medium uses its affordances to take advantage of its potential for creative expression. I do not consider poetry or literature to be superior to videogames, nor am I invoking the argument that videogames should imitate earlier media. My goal is to compare specific modernist poems and videogames to see how each medium makes meaning through its respective processes.

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Jensen, Michelle. "New Media and Interactivity." University of Sydney, 2006. http://hdl.handle.net/2123/1522.

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Master of Visual Arts
Digital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience.

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Lucena, Jesiel Lyncoln. "In a Haystack: A Video Game About Discrimination and Privilege in American Culture." Digital WPI, 2016. https://digitalcommons.wpi.edu/etd-theses/387.

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This Post Mortem discusses the choices made during the design and development process of In a Haystack, a narrative based adventure video game that discusses Privilege and Discrimination in American Society. As a solo project, I created a polished interactive experience that I intend to turn into a published episodic video game series. This document goes over the methodology choices, technical and artistic difficulties, and challenges faced by in pursuit of this goal.

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Perry, Allison. "Women and Video Games: Pigeonholing the Past." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/135.

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Academic work dealing with the overlap between video games and female representation is limited in both volume and proper research. Most texts agree on three supposed flaws with video games: they alienate female participants, there are no games for female players, and female players cannot relate to female characters. This thesis sheds light on these points, not only citing specific counter-examples, but also showing how many of these issues reflect on a larger societal problems.

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Du, Toit Timon Dawid. "Interactive Media in Archaeology : Video Games for Archaeological Heritage Conservation." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78749.

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The use of video games as a sustainable tool for preserving existing archaeological data in an entertaining and interactive manner was investigated. The main aim of such investigation was to explore the potential benefits in terms of archaeological/heritage education, broadcasting, and representing data in a manner that is interactive and encourages critical thinking through play. Game Pass Shelter, located at Kamberg in the uKhahlamba Drakensberg Park was used to create a virtual environment in a video game that accurately represents traditional Bushmen rock art and folklore. Two phases were featured in the development of the video game: (i) getting feedback from gamers through a questionnaire I had designed, and (ii) using the identified recommendations to design the 2D video game using Unity Game Engine (a free video game development piece of software). This 2D video game, defined by authenticity to the represented folklore, features rock art motifs from Game Pass Shelter used against the backdrop of the Spoiling of the Eland traditional story. The video game begins with the ‘Rosetta Stone’ of southern African rock art and contextualises it using selected traditional folklore. Through this process, the video game aims to show why hunting was so important to the traditional Bushmen way of life. It further shows why eland were so valued and some unique beliefs that the Bushmen had concerning them.
Dissertation (MA (Archaeology))--university of Pretoria, 2020.
Anthropology and Archaeology
MA (Archaeology)
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Baychelier, Guillaume. "Des dispositifs de contrainte : iconologie interartiale et vidéoludique des corps monstrueux." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H310.

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La contrainte positive de Barney permet d’'aborder la capacité du dispositif à produire des usages qui, parce que contraints, s'avèrent féconds. Les corps monstrueux sont analysés dans le genre vidéoludique horrifique à partir de cette problématique de la fertilité artistique des dispositifs de contrainte développant une nouvelle approche iconologique tant des enjeux de la relation vidéoludique à l'image que du pouvoir générateur des monstres. Les dispositifs sont conçus comme parcours dont la spatialité est étroitement liée aux idées de clôture et d'obstacle. En écho à Jankélévitch, ces entraves se constituent en organes-obstacles engageant à une pratique où le malgré est paradoxalement le grâce-à. Le recours à l'entrave est souhaité en vue d'un processus génératif ne pouvant prendre corps qu'au risque de l'épreuve d'un déplaisir, d'une «horreur délicieuse» engageant à approfondir l'affinité entre le sublime et la façon dont les dispositifs de contrainte se constituent à travers l'expérience de plaisirs négatifs, d'une disconvenance conduisant selon Schiller à une convenance supérieure. Au-delà de la conjuration de la stupeur horrifiée, par l'artialisation de l' image, l'ouverture iconologique interartiale (picturale, vidéoplastique...) et mythologique permet la mise à jour heuristique de la genèse du monstrueux par un dispositif de contrainte (Tête de Méduse, Rubens) et de la résistance par impossibilité de la capture (Protée) qui conduit à examiner les dispositifs irréductibles à !'enclosure et la question de l'absence de contrainte comme contrainte paradoxale, induisant l' exercice de la mètis qui permet d'éviter l'achoppement dans le clos comme la perte dans l'ouvert
The notion of positive restraint (Barney) brings to light the apparatuses' ability to produce practices that prove to be fertile, because restrained. Monstrous bodies in horror video games are analyzed from the perspective of the restraint apparatuses' artistic fertility, thus elaborating a new iconological approach to the image issues in videogames and monsters' generating power. Apparatuses are understood as routes whose spatialit is closely linked to the ideas of enclosure and obstacle. Echoing to Jankélévitch, these constraints establish organs-obstacles that set in motion a practice in which despife is paradoxically thanks to. Submitting to constraint engages a generalive process that can only take shape in the presence of a displeasure trial, a "delightful horror" leading us to investigate further the link between sublime and the way restraint apparatuses are grounded in the experience of negative pleasures, of a unsuitability leading, according to Schiller, to a superior suitability. Beyond discharging oneself from horrified stupor by the "artialisation" of the image, the interartial iconological (pictorial, video...) and mythological fields allow us to explore the genesis of monstrosity by restrainl apparatuses (Rubens' Medusa). It also underlines the idea of resistance by the impossibility of capture (Proteus) that leads us to examine the apparatuses without considering them as necessarily linked to closure, and the question of the lack of restraint considered as a paradoxical restraint, which leads to the practice of mètis that enables to avoid stumbling in closed spaces as well as getting lost in wide open spaces

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Books on the topic "Video game art"

1

Henry, Jenkins, ed. Video Game Art. New York: Assouline Publishing, 2005.

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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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Leo, Hartas, ed. Collins game art: The graphic art of computer games. London: Collins, 2003.

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Game art for teens. Boston, MA: Thomson Course Technology/Premier Press, 2004.

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Game art for teens. 2nd ed. Boston, MA: Thomson Course Technology, 2006.

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The black art of video game console design. Indianapolis, Ind: Sams, 2006.

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Drawing Basics and Video Game Art: Classic to Cutting Edge Art Techniques for Winning Game Design. New York: Watson-Guptill, 2012.

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Entāpuraizesu, SEGA. SEGA TV gēmu genga gyararī =: Video game illustrations. Tōkyō: Gurafikkusha, 1994.

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Harbour, Jonathan S. The black art of Xbox mods. Indianapolis, Ind: SAMS, 2005.

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1978-, Ries Eric, and Tenitchi Calin, eds. Black art of Java game programming. Corte Madera, CA: Waite Group Press, 1996.

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Book chapters on the topic "Video game art"

1

Visi, Federico, and Frithjof Faasch. "Motion Controllers, Sound, and Music in Video Games: State of the Art and Research Perspectives." In Emotion in Video Game Soundtracking, 85–103. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72272-6_8.

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Yip, David Kei-man. "The Hidden Art of Transmedia Storytelling Across Cinema and Video Game." In Advances in Creativity, Innovation, Entrepreneurship and Communication of Design, 569–73. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80094-9_68.

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Lacasa, Pilar. "Art and Video Games." In Learning in Real and Virtual Worlds, 135–58. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137312051_7.

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"Crafting a Character Art Portfolio." In Becoming a Video Game Artist, 123–32. Taylor & Francis Group, 6000 Broken Sound Parkway NW, Suite 300, Boca Raton, FL 33487-2742: CRC Press, 2016. http://dx.doi.org/10.1201/9781315740287-13.

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"Crafting a Concept Art Portfolio." In Becoming a Video Game Artist, 133–46. Taylor & Francis Group, 6000 Broken Sound Parkway NW, Suite 300, Boca Raton, FL 33487-2742: CRC Press, 2016. http://dx.doi.org/10.1201/9781315740287-14.

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"Crafting an Environmental Art Portfolio." In Becoming a Video Game Artist, 147–64. Taylor & Francis Group, 6000 Broken Sound Parkway NW, Suite 300, Boca Raton, FL 33487-2742: CRC Press, 2016. http://dx.doi.org/10.1201/9781315740287-15.

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"Crafting a Technical Art Portfolio." In Becoming a Video Game Artist, 165–75. Taylor & Francis Group, 6000 Broken Sound Parkway NW, Suite 300, Boca Raton, FL 33487-2742: CRC Press, 2016. http://dx.doi.org/10.1201/9781315740287-16.

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"Crafting an Environmental Art Portfolio." In Becoming a Video Game Artist, 175–92. Boca Raton : Taylor & Francis, a CRC title, part of the Taylor &: CRC Press, 2016. http://dx.doi.org/10.4324/9781315740287-23.

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"Crafting a Concept Art Portfolio." In Becoming a Video Game Artist, 161–74. Boca Raton : Taylor & Francis, a CRC title, part of the Taylor &: CRC Press, 2016. http://dx.doi.org/10.4324/9781315740287-22.

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"Crafting a Technical Art Portfolio." In Becoming a Video Game Artist, 193–204. Boca Raton : Taylor & Francis, a CRC title, part of the Taylor &: CRC Press, 2016. http://dx.doi.org/10.4324/9781315740287-24.

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Conference papers on the topic "Video game art"

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An, Haeng-A., and Jinho Park. "A Lagrangian Approach on Video based Fluid Animation." In Art, Culture, Game, Graphics, Broadcasting and digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.87.05.

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Lee, Joohun, Haehyun Jung, and Jaejung Lee. "An User Interface of Live Video Mixing System Using Hand Gesture Recognition." In Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.101.02.

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Kim, Byeong Jeong, and Seop Hyeong Park. "A Simple Video Up-Scaling and Segmentation Method for Tiled Display System with Heterogeneous Display Devices." In Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.101.05.

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Aligeng. "A Study on the Spread of Ethnic Minority Traditional Legends in the New Era: Taking the Video Game “Nishan Shaman” as an Example." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.038.

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Moshirnia, Andrew. "The Educational Potential of Modified Video Games." In InSITE 2007: Informing Science + IT Education Conference. Informing Science Institute, 2007. http://dx.doi.org/10.28945/3130.

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As the popularity of video game playing has increased, educators have sought to co-opt video games as an instructional tool. However, educational games have made little impact in either the commercial market place or the average game player’s home library. The modification, or modding, of video games using in-game editors may be used by instructors to introduce educational content to professionally designed video games. This paper examines the effectiveness of a modified video game, Civilization IV, in improving the comprehension and retention of historical knowledge of 10th, 11th, and 12th grade students. Students exposed to the modified video game significantly improved their immediate recall of knowledge level history items. Students expressed interest in future educational game playing and felt that they had a better understanding of application level history items. While these results are encouraging, the small sample size of this experiment prevents generalization and necessitates further study.

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Parker, J. R. "Games are art: Video games as theatrical performance." In 2013 IEEE International Games Innovation Conference (IGIC). IEEE, 2013. http://dx.doi.org/10.1109/igic.2013.6659148.

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Alonso, Eloi, Maxim Peter, David Goumard, and Joshua Romoff. "Deep Reinforcement Learning for Navigation in AAA Video Games." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/294.

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In video games, \non-player characters (NPCs) are used to enhance the players' experience in a variety of ways, e.g., as enemies, allies, or innocent bystanders. A crucial component of NPCs is navigation, which allows them to move from one point to another on the map. The most popular approach for NPC navigation in the video game industry is to use a navigation mesh (NavMesh), which is a graph representation of the map, with nodes and edges indicating traversable areas. Unfortunately, complex navigation abilities that extend the character's capacity for movement, e.g., grappling hooks, jetpacks, teleportation, or double-jumps, increase the complexity of the NavMesh, making it intractable in many practical scenarios. Game designers are thus constrained to only add abilities that can be handled by a NavMesh. As an alternative to the NavMesh, we propose to use Deep Reinforcement Learning (Deep RL) to learn how to navigate 3D maps in video games using any navigation ability. We test our approach on complex 3D environments that are notably an order of magnitude larger than maps typically used in the Deep RL literature. One of these environments is from a recently released AAA video game called Hyper Scape. We find that our approach performs surprisingly well, achieving at least 90% success rate in a variety of scenarios using complex navigation abilities.

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Scrapper, Christopher J., Frederick M. Proctor, and Stephen Balakirsky. "A Simulation Interface for Integrating Real-Time Vehicle Control With Game Engines." In ASME 2007 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/detc2007-34495.

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This paper describes the use of video game engines as simulation environments that aid the development and testing of real-time vehicle controllers. The use of game engines for simulation is surveyed, with relevant technologies noted. The need to switch between different vehicle controllers, game engines and real vehicles gave rise to an integration architecture. The features of the architecture are described, including the execution model, message set and knowledge base. Adaptation of existing controllers, simulations and vehicles to this architecture is discussed. Issues of performance and scalability are addressed. An example is provided to illustrate the concepts.

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Fairhurst, Stuart R., Logan C. McCool, Kristin M. Scheel, Crystal L. Stien, Charlotte M. Brenteson, Andrew H. Hansen, Gary D. Goldish, Gregory O. Voss, and John E. Ferguson. "Development of a Rehabilitation Game for Individuals With Spinal Cord Injury Using a User-Centered Design Process." In 2018 Design of Medical Devices Conference. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/dmd2018-6932.

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The use of video games during exercise, exergaming, has been shown to increase energy expenditure without increasing perceived exertion [1]. This suggests that exergaming may be an effective way to engage a patient during rehabilitation and increase adherence to a rehabilitation regime. Existing exergame systems are designed with able bodied users in mind and often combine hand controlled game play while using lower limbs for aerobic exertion, making current systems inaccessible to individuals with spinal cord injuries and others without lower limb function. Our earlier work on increasing exercise accessibility includes developing an ergometer for supine use for patients who have recently had a flap procedure [2]. The goal of the present project was to create an engaging, interactive video game designed for use during arm ergometry by individuals with spinal cord injury (SCI) in either the supine or seated position.

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Gasselseder, Hans-Peter. "Re-orchestrating Game Drama: The Immersive Experience of Dynamic Music in Video Games." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.58.

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Reports on the topic "Video game art"

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Rodríguez Chatruc, Marisol, and Sandra V. Rozo. How Does it Feel to Be Part of the Minority?: Impacts of Perspective Taking on Prosocial Behavio. Inter-American Development Bank, September 2021. http://dx.doi.org/10.18235/0003612.

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Can online experiences that illustrate the lives of vulnerable populations improve prosocial behaviors and reduce prejudice? We randomly assign 850 individuals to: i) an online game that immerses individuals in the life decisions of a Venezuelan migrant and ii) a documentary about the migration process of Venezuelans to Colombia. Both treatments effectively improve altruism and reduce prejudice towards migrants. The impacts of both treatments are not statistically different in any of the other outcomes that we examine. The effects of the game are mainly driven by changes in perspective-taking while the effects of the video are induced by changes in both empathy and perspective-taking.

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Tavakoli, Arash, Vahid Balali, and Arsalan Heydarian. How do Environmental Factors Affect Drivers’ Gaze and Head Movements? Mineta Transportation Institute, August 2021. http://dx.doi.org/10.31979/mti.2021.2044.

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Studies have shown that environmental factors affect driving behaviors. For instance, weather conditions and the presence of a passenger have been shown to significantly affect the speed of the driver. As one of the important measures of driving behavior is the gaze and head movements of the driver, such metrics can be potentially used towards understanding the effects of environmental factors on the driver’s behavior in real-time. In this study, using a naturalistic study platform, videos have been collected from six participants for more than four weeks of a fully naturalistic driving scenario. The videos of both the participants’ faces and roads have been cleaned and manually categorized depending on weather, road type, and passenger conditions. Facial videos have been analyzed using OpenFace to retrieve the gaze direction and head movements of the driver. Results, overall, suggest that the gaze direction and head movements of the driver are affected by a combination of environmental factors and individual differences. Specifically, results depict the distracting effect of the passenger on some individuals. In addition, it shows that highways and city streets are the cause for maximum distraction on the driver’s gaze.

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DeJaeghere, Joan, Vu Dao, Bich-Hang Duong, and Phuong Luong. Inequalities in Learning in Vietnam: Teachers’ Beliefs About and Classroom Practices for Ethnic Minorities. Research on Improving Systems of Education (RISE), February 2021. http://dx.doi.org/10.35489/bsg-rise-wp_2021/061.

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Global and national education agendas are concerned with improving quality and equality of learning outcomes. This paper provides an analysis of the case of Vietnam, which is regarded as having high learning outcomes and less inequality in learning. But national data and international test outcomes may mask the hidden inequalities that exist between minoritized groups and majority (Kinh) students. Drawing on data from qualitative videos and interviews of secondary teachers across 10 provinces, we examine the role of teachers’ beliefs, curricular design and actions in the classroom (Gale et al., 2017). We show that teachers hold different beliefs and engage in curricular design – or the use of hegemonic curriculum and instructional practices that produce different learning outcomes for minoritized students compared to Kinh students. It suggests that policies need to focus on the social-cultural aspects of teaching in addition to the material and technical aspects.

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