Relevant bibliographies by topics / Video game characters in art

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Academic literature on the topic 'Video game characters in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 March 2023

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Journal articles on the topic "Video game characters in art"

Shedko, I. I. "Pictorial Sources of the Images of Mythological Creatures in the Video Game Nioh." Art & Culture Studies, no. 4 (December 2022): 502–27. http://dx.doi.org/10.51678/2226-0072-2022-4-502-527.

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The purpose of this article is to review the characters in the two-part Japanese video game series Nioh so as to identify their origins and artistic relationships with the visual arts. Based on the names and appearance of the characters created in the game, the author attempts to perform a comparative analysis of the images in the game and those known in Japanese art. The subject of the research is identifying and studying the connection between the art of the past and modern video game character design on the example of the Nioh video game series, using the methods of art analysis. Modern researchers consider video games to be one of the forms of interaction between modern culture and cultural heritage. Therefore, this study is relevant as it reveals the cultural significance of video games and demonstrates the method of working with the artistic heritage in building game worlds. The article provides a comparative analysis of the characters yoki and one-eyed oni, kappa and kamaitachi and the pictorial sources of the 8th–12th and 17th–19th centuries. The author comes to the conclusion that the video game Nioh is a modern catalogue of Japanese demonology, based on well-known pictorial and written sources.

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Ergen, İsmail. "Generating video game characters using StyleGAN2." JOURNAL OF AWARENESS 8, no. 1 (February 3, 2023): 57–61. http://dx.doi.org/10.26809/joa.1974.

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GANs have been getting better and better each year. The state of the art GAN models for generating 2D images have become so good it is hard to differentiate generated images nowadays. In this paper we create 3 different sparse data sets from video game assets and train them with StyleGAN2 to generate new artwork based on the previously existing artworks of the video game in question

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Miletic, Philip. "Avatar 'n' Andy." Loading 13, no. 21 (September 14, 2020): 34–54. http://dx.doi.org/10.7202/1071450ar.

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Despite recent criticisms that call out blackface in video game voice acting, the term “blackface” was and still is seldomly used to describe the act of casting white voice actors as characters of colour. As a result, the act of blackface in video game voice acting still occurs because of colorblind claims surrounding the digital medium and culture of games. In this paper, I position blackface in video game voice acting within a technological and cultural history of oral blackface and white sonic norms. I focus on three time periods: the Intellivision Intellivoice and the invention of a "universal" voice in video games; early American radio in the 1920s-1930s and the national standardization of voice; and colorblind rhetoric of contemporary game publishers/devs and voice actors.

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Kirkland, Ewan. "Masculinity in Video Games: The Gendered Gameplay of Silent Hill." Camera Obscura: Feminism, Culture, and Media Studies 24, no. 2 (September 1, 2009): 161–83. http://dx.doi.org/10.1215/02705346-2009-006.

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This article explores construction and representation of masculinity in the “survival horror” video-game series Silent Hill. Noting the dominance of traditional male characters and masculine themes within the video-game medium, the Silent Hill franchise is seen as deviating from this assured, aggressive, and unexamined machismo. The series' protagonists are instead nondescript, flawed, domesticated men—unstable, angst-ridden, and unreliable in a manner that interrogates the dominant mode of masculine gameplay. The problematic nature of video-game interactivity and identity, the extent to which gameplay can exist independent of playable protagonists, and the gendering of video-game goals and objectives are considered. Despite conforming to certain masculine activities—fighting, collecting weaponry, exploring and dominating space—Silent Hill complicates such aspects through the game avatars' unremarkable abilities, limiting supplies, frantic combat styles, frustrating spatial progress, experiences of entrapment, and a pervading sense of helplessness, exemplified by the games' often deterministic linear structures. Overall, this article argues that the games encourage critical distance from the male game characters, the rescue missions they attempt and often fail, the monstrous images of femininity they imagine, and the voyeuristic practices in which they engage.

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Márquez, Israel. "Street Art y videojuegos: el caso de Invader." Revista de Humanidades, no. 39 (May 29, 2020): 135. http://dx.doi.org/10.5944/rdh.39.2020.21655.

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Resumen: El presente artículo analiza las relaciones entre street art y videojuegos como un ejemplo concreto de nueva práctica artística en el espacio urbano. Para ilustrar esta relación analizamos el proyecto artístico del artista urbano francés Invader, quien ha construido su identidad artística a partir de la apropiación material de los famosos personajes del videojuego Space Invaders y su traslado del espacio digital de la pantalla al espacio público de la calle.Abstract: The article analyzes the relationship between street art and video games as a new type of art practice in urban space. To illustrate this relationship, we analyze the work of the French street artist known as Invade. This artist has appropriated the characters from Space Invaders classic video game to build his artistic identity, transferring them from the digital space of the screen to the public space of the street.

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Chien, Irene. "Deviation / Red vs. Blue: The Blood Gulch Chronicles." Film Quarterly 60, no. 4 (2007): 24–29. http://dx.doi.org/10.1525/fq.2007.60.4.24.

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ABSTRACT Machinima are computer-animated films shot within video games that expose possibilities and pitfalls in the increasing convergence of cinema and video games. By satirically dramatizing the inner lives of video game characters, machinima works Deviation and Red vs. Blue undermine the cycle of combat and death that drives first-person shooters.

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Nae, Andrei. "Shakespeare and the Accumulation of Cultural Prestige in Video Games." Acta Universitatis Sapientiae, Film and Media Studies 17, no. 1 (October 1, 2019): 115–28. http://dx.doi.org/10.2478/ausfm-2019-0018.

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Abstract The present article analyses the manner in which AAA action-adventure games adapt, quote, and reference Shakespeare’s plays in order to borrow the bard’s cultural capital and assert themselves as forms of art. My analysis focuses on three major releases: Metal Gear Solid 4: Guns of the Patriots, BioShock: Infinite, and God of War. The article shows that these games employ narrative content from Shakespeare’s plays in order to adopt traits traditionally associated with the established arts, such as narrative depth and complex characters. In addition to this, explicit intertextual links between the games’ respective storyworlds and the plays are offered as ludic rewards for the more involved players who thoroughly explore game space.1

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Farmaki, Despoina. "Copyright protection of video games: a comparative study." Interactive Entertainment Law Review 5, no. 2 (December 30, 2022): 107–21. http://dx.doi.org/10.4337/ielr.2022.02.04.

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Abstract The legal nature of video games in terms of copyright is hard to determine. Video games are highly interactive multimedia that are made up of individual elements that are the ‘product’ of creative effort and expertise. Video games are also complex multimedia works that combine video, music, art and characters. There is a debate on which work is qualified to be copyright protected: is it the video game as a whole or the individual elements of it? To question further, under which category of protected works should they be classified? This article will shed light on the above considerations by employing a combination of doctrinal and comparative analyses. European and national legislation and case law will be analysed, with particular emphasis on four national jurisdictions: Germany, France, Greece and the UK. The article discusses the divergent opinions among academics, national and European case law, and will suggest that copyright registration of video games would provide more clarity.

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Shimada, Makoto. "Nintendo v. MariCar: is street kart rental business free riding on the popular video game characters prohibited in Japan?" Interactive Entertainment Law Review 2, no. 1 (June 2019): 50–54. http://dx.doi.org/10.4337/ielr.2019.01.05.

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You must not make a profit by using a well-known character belonging to someone else without licence. This is a commercial common sense, but a question is on what legal basis such an activity is banned? A character business may involve various intellectual properties, including copyright, trademark, design rights, etc., however, none of these IP rights is directly aimed at protecting characters. Besides, trademarks and design rights shall not take effect unless they are registered at the Patent Office, and characters are not always copyrightable. In several cases, Japanese courts suggest that the Unfair Competition Prevention Act of Japan takes a certain role to protect characters. This case review examines a recent judgment in the case, which deals with the application of this Act for the prevention of free riding on the video game characters.

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Cote, Amanda C. "Writing “Gamers”." Games and Culture 13, no. 5 (December 31, 2015): 479–503. http://dx.doi.org/10.1177/1555412015624742.

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In the mid-1990s, a small group of video game designers attempted to lessen gaming’s gender gap by creating software targeting girls. By 1999, however, these attempts collapsed, and video games remained a masculinized technology. To help understand why this movement failed, this article addresses the unexplored role of consumer press in defining “gamers” as male. A detailed content analysis of Nintendo Power issues published from 1994 to 1999 shows that mainstream companies largely ignored the girls’ games movement, instead targeting male audiences through player representations, sexualized female characters, magazine covers featuring men, and predominantly male authors. Given the mutually constitutive nature of representation and reality, the lack of women in consumer press then affected girls’ ability to identify as gamers and enter the gaming community. This shows that, even as gaming audiences diversify, inclusive representations are also needed to redefine gamer as more than just “male.”

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Dissertations / Theses on the topic "Video game characters in art"

Archibald, Audon G. "Implicit and Explicit Racial Attitude Responses to Casts of Video Game Characters." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707312/.

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Prior research has established a relationship between playing video games containing stereotyped representations of traditionally marginalized groups and resulting negative attitudes towards those groups. Yet, very little work has examined video games containing more positive, non-stereotyped representations and whether these diverse casts have inverse effects resulting in positive attitudes following exposure, an effect demonstrated in television media. The current study makes use of two paradigms, one based on short-term priming theory concerning immediate exposure to media, and one on long-term cultivation theory dealing with the overall media diet, and the relation to attitudes towards Blacks including symbolic racism, colorblindness, and implicit bias. In Study 1 (n = 31), Black and White participants reported how much time weekly they spent playing a popular game with positive representations of People of Color before completing measures. In Study 2 (n = 91), Black and White participants were exposed to one of three games, one with positive representation, one with negative representation, and a control game before completing study measures. Findings suggested that participant race was related to pro-Black attitudes (p = .009), but that direct exposure to a game with positive representation (p = .13) as well as playing the game during the week (p = .25) was not, while controlling for participant interracial contract. Despite this, discussions are made in face of interesting patterns of results that could be expanded upon in future work to explain the present findings. Furthermore, practical applications of the present study are made for both non-academic creators and consumers of video games.

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Rajkowska, Paulina. "Roles of female video game characters and their impact on gender representation." Thesis, Uppsala universitet, Medier och kommunikation, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-225393.

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Due to immense popularity of video games the author investigates the presence of gender portrayal within them. The purpose of this study is to thoroughly analyse a general phenomenon, such as gender, within video games to develop a better understanding of its particularities in this form of media and to expand the general body of knowledge on video games as a research topic. As prior literature shows, gender within video games can be either defined by its biased and sexualized character or by a tendency towards equality and strength for woman. To explain those varied results the author introduces the category of role as an important factor for character representation based on the use of theoretical frameworks of symbolic interactionism, more particularly dramaturgical approach of E. Goffman. She then further proceeds with a qualitative discourse analysis of both protagonist and support characters from 22 different games. The author finds that there is a visible difference within the manners females are presented depending on their role. Lead characters are more likely to be strong, independent and self-sufficient whereas support characters most often require immediate help, are dependent on others and are more likely to be abused. Presented results can account for some of the variety in prior research and they open the field of video game studies to possibly new research topics.

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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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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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Marlow, Gregory. "Week 12, Video 02: Character Model." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/80.

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Marlow, Gregory. "Week 12, Video 03: Character Materials." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/81.

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Marlow, Gregory. "Week 12, Video 01: Character Concept Timelapse." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/79.

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Teetsel, Sarah M. "Musical Memory of the Player, Characters, and World of The Legend of Zelda Video Game Series." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431710749.

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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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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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Books on the topic "Video game characters in art"

Sop'ŭt'ŭ, Enssi. Lineage: Art book. Sŏul-si: Sigongsa, 2017.

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

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Erik, Demski, ed. How to draw Sly Cooper & friends. New York: Scholastic, 2006.

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Character animation with Direct3D. Boston, Mass: Charles River Media, 2009.

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Gēmu & anime kyarakutā dezain bukku 2015: More heroes & heroines : Japanese video game + animation illustration. Tōkyō: Pai Intānashonaru, 2014.

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(Firm), Walter Foster, ed. Learn to draw Angry Birds. Irvine, Calif.]: Walter Foster Pub., Inc., 2012.

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Granberg, Carl. Character animation with Direct3D. Boston, Mass: Charles River Media, 2009.

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Granberg, Carl. Character animation with Direct3D. Boston, Mass: Charles River Media, 2009.

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Learn to draw Angry birds space. Irvine, CA: Walter Foster Publishing, 2015.

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Marroquin-Burr, Kristina. Learn to draw Angry Birds space. [Irvine, Calif.]: Walter Foster Pub., Inc., 2013.

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Book chapters on the topic "Video game characters in art"

Rainoldi, Mattia, Arne Van den Winckel, Joanne Yu, and Barbara Neuhofer. "Video Game Experiential Marketing in Tourism: Designing for Experiences." In Information and Communication Technologies in Tourism 2022, 3–15. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94751-4_1.

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AbstractWhile film and television have a long tradition in tourism marketing, the potential of video games is overlooked. This study unlocks a novel era of marketing by investigating the interplay between experiential factors and in-game experiences, and how they may contribute to one’s intention to visit in-game destinations. By taking Assassin’s Creed Odyssey as the study context, game world dynamics, level of immersion, level of freedom, connection to characters, and sense of realism are identified as the five pillars that shape gaming experiences. Drawing upon experience design, this study lays the groundwork for emerging marketing opportunities using video games for tourism and contributes to the broader field of media-induced tourism literature.

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Blom, Joleen. "The Player’s Interpretative Agency and the Developer’s Disruptive Powers: How Blizzard Enforces Authorial Intention in Overwatch." In Modes of Esports Engagement in Overwatch, 49–66. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-82767-0_4.

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AbstractDue to constant internet connection many games nowadays require developers of games such as Overwatch to alter the structure of their video games directly and frequently. This chapter argues that, because of such modern technologies, Blizzard is able to change the meaning of the game content whenever it wants so that players are constantly forced to follow the changing authorial intention if they wish to continue playing the game. An illustrative example of game content to which authorial intention is applied are the Overwatch’s heroes, where the players’ interpretations of the characters as game pieces and fictional beings are systematically outplayed by the developer. This chapter thus demands to critically re-evaluate our perception of the author’s influence over the interpretation of a cultural product.

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Nguyen, Anh-Thu. "Mindspaces." In Mental Health | Atmospheres | Video Games, 51–62. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462645-006.

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This article explores the notion of mindspaces and mindscapes. These spaces are used in fiction, film, television and video games to tap into feelings, dreams, fears and memories of typically one character. As they are used to express a character's mental health, they are often linked to trauma. While drawing on titles from film and television, the article specifically explores PERSONA 5 and how mindspaces are embedded in its gameplay and storytelling.

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Schell, Jesse. "Worlds Contain Characters." In Tenth Anniversary: The Art of Game Design, 371–92. Third edition. | Boca Raton : Taylor & Francis, a CRC title, part of the Taylor & Francis imprint, a member of the Taylor & Francis Group, the academic division of T&F Informa, plc, 2019.: A K Peters/CRC Press, 2019. http://dx.doi.org/10.1201/b22101-20.

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Arnold-Ferencz, Kitti F., and Klára Tarkó. "Gamer women - 'tourists' or 'citizens'?" In Women, leisure and tourism: self-actualization and empowerment through the production and consumption of experience, 116–28. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789247985.0011.

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Abstract Video and computer games have become an increasingly popular form of leisure over the past three decades. While the digital world is traditionally thought of as a masculine space, the number of female online gamers continues to increase. In the online gamer subculture, however, female gamers are often invisible, primarily because the famous gamers and the main characters of video games are typically male. Video games tend to focus on female characters' physical appearance, rather than their skills, thus widening the gender gap, as well as relegating women to secondary, supporting roles. This chapter addresses the primary question of whether women are 'tourists' in this currently masculine space, or if they are already full members of the gaming world. By looking at online female gamers in Hungary and through analysis of an online questionnaire, it was determined that the female presence in online gaming is increasing, in spite of misogyny and harassment.

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Josef, Alex, Alex Van Lepp, and Marshal Carper. "The Art of Video Game Revenue." In The Business of Indie Games, 21–36. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003215264-4.

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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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Vozaru, Miruna. "Reclaiming Agency." In Mental Health | Atmospheres | Video Games, 63–76. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462645-007.

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The chapter explores the fluctuations in the relationship between the player and the avatar during the course of the game, and its potential for a more complex and inclusive portrayal of characters living with mental health issues.

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Thompson, Nathan. "“Sexified” Male Characters: Video Game Erotic Modding for Pleasure and Power." In Queerness in Play, 185–201. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90542-6_11.

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Chen, XiaoLong, Kaustubha Mendhurwar, Sudhir Mudur, Thiruvengadam Radhakrishnan, and Prabir Bhattacharya. "Learning Human Action Sequence Style from Video for Transfer to 3D Game Characters." In Motion in Games, 422–33. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-16958-8_39.

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Conference papers on the topic "Video game characters in art"

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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Gallimore, Jennie J., Blake Ward, Adrian Johnson, Bobbie Leard, Jeremy Lewis, Kyle Preuss, and Julie Skipper. "Human Perceptions of Nonverbal Behavior Presented Using Synthetic Humans." In ASME 2012 11th Biennial Conference on Engineering Systems Design and Analysis. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/esda2012-82641.

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Synthetic humans are computer-generated characters that are designed to behave like humans for the purpose of training or entertainment. The purpose of this study was to evaluate the perceptions of subjects interacting with synthetic humans to determine their responses to nonverbal behaviors, realism, and character personality. This study was part of a research program to develop a virtual game to train awareness of nonverbal communication for cross-cultural competency (3C). Three synthetic humans were created with different levels of realism with respect to their facial movements and skin textures. Low realism characters were defined as models purchased from the company Evolver, with additional facial action units (FAU) added to the character’s face. High realism characters were created based on a model of a real person’s head using 3D imaging cameras and a digital video camera. The same FAUs available in the Evolver characters were also coded into the high realism character as well as more realistic skin texture. During a virtual scenario the subject was asked to interview three characters in the U.S. Army. The subject interviewed each character one-on-one. The three computer characters included two white males, and one black female. The results of this study showed that it is possible to create synthetic humans that include nonverbal behaviors and personalities that are perceived by subjects, and that the subject’s own personal lens affected how they perceive the character. For example, the character Brent was rated similarly by most subjects with respect to personality traits as defined by the Big Five Factor Model. However, half the subjects indicated they liked him (friendly and confident), while about half the subjects did not like him (too confident as to be arrogant).

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Stahl, Matilda. "GENDER AND IDENTITY IN VIDEO GAMES AS A VIRTUAL LEARNING ENVIRONMENT." In eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-079.

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Matilda St?hl, ?bo Akademi University The design of video games encourage playfulness and exploration in an environment that revolves around problem solving. The development of these traits and the learning potential in virtual environments have caught the attention of educators. (Gee & Hayes, 2010.) Video games are a very common motivator in learning how to use new technology; skills the students will have great use of in the future. Although, since gaming is considered unfeminine many girls tend to give up gaming as teenagers and they thereby miss the opportunity to learn how to use new technologies as well as developing their skills in problem solving. (Gee, 2007.) Video games and other virtual learning environments can also be considered as alternative realities where the gamer can become whoever he or she wants. Juul (2009) argues that the gamer's identity is highly characterized by his or her attitude towards gaming and whether he or she is inclined to identify himself or herself as a gamer. Gee notes the relevance of the identity perspective in regard to learning through video games. According to him, the gamer identity consists of three different identities that together form an entirety: the virtual identity, the real life identity and the projective identity where Gee play with the word project and its two meanings. On one hand there is a gamer projecting his or her values and desires onto the virtual character. On the other hand the character can be considered a project where the gamer within the limits of the game creates a personality for their character. (Gee, 2007.) In other words, the girls who give up gaming also miss out the possibility to explore their own identities as well. During eLSE I wish to give a presentation based on my master's thesis on how video games, even commercial ones, can be considered learning environments and how this point of view will evolve in my doctoral thesis. Referenser: Gee, J P. (2007). What Video Games have to teach us about Learning and Literacy. Palgrave Gee, J P. & Hayes, E R. (2010). Women and gaming. The Sims and 21st century learning. Palgrave Juul, J. (2009). Casual Revolution: Reinventing Video Games and Their Players. Cambridge, M A. USA.

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Arsović, Branka. "MATEMATIKA KROZ IGRU – MOGUĆNOSTI UPOTREBE IKT." In Metodički aspekti nastave matematike. Faculty of Edaucatin in Jagodina, 2021. http://dx.doi.org/10.46793/manm4.101a.

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Due to its voluntary and unburdening character, game is an excellent medium for learning. Children learn through games, because on the basis of rules, settings and their own skills, they understand the existing and define new concepts and relations between them. The game meets one important requirement of education – straightening multiple skills at the same time. Learn- ing mathematics is a challenge for many students, so the game seem like a good solution to bring mathematics closer to students. Mathematical games encourage strategic thinking, problem solving and develop logical thinking. Combining play as a form of learning with ICT progress, computer games became a new teaching tool. Video games are a much better representative system for learning mathematics than symbolic representations on static pages of textbooks.

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Xie, Haolin, and Yu Sun. "An Intelligent Video Editing Automate Framework using AI and Computer Vision." In 3rd International Conference on Artificial Intelligence and Machine Learning (CAIML 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.121216.

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At present, many video editing software have been created, but what they all have in common is that they require manual work to edit. And it takes a lot of time and the user needs to watch each frame before editing. In this paper, we have developed a program about AI intelligence. The most important point of this software is that it can automatically focus the face of a person and edit only selected clips of the person to make a complete video. Users only need to prepare the video they want to edit and a photo of the main character. Then, upload both to the software and AI Intelligence will automatically edit it, providing the user with a way to download and save it after editing the main character they need. we applied our application to an example video using the Marvel character Hawkeye as he appears in End Game, and tried many experiments with the clip, eventually we tried many experiments with the clip and finally got a video of our selected character. The results show that this software saves the user a lot of time and is highly efficient. All operations are carried out by AI.

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Murphy, Christian, Sudhir Mudur, Daniel Holden, Marc-André Carbonneau, Donya Ghafourzadeh, and Andre Beauchamp. "Appearance Controlled Face Texture Generation for Video Game Characters." In MIG '20: Motion, Interaction and Games. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3424636.3426898.

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Pena, Luis, Sascha Ossowski, Jose M. Pena, and Jose A. Sanchez. "EEP — A lightweight emotional model: Application to RPG video game characters." In 2011 IEEE Conference on Computational Intelligence and Games (CIG). IEEE, 2011. http://dx.doi.org/10.1109/cig.2011.6032000.

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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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Grosu, Corina, and Marta Grosu. "LINTRANSFORMERS." In eLSE 2014. Editura Universitatii Nationale de Aparare "Carol I", 2014. http://dx.doi.org/10.12753/2066-026x-14-048.

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Confronting students with the recognition of Linear Algebra notions in everyday life is the main e-learning goal of "LinTransformers" video game, which we present in this paper. A strange tower, a solitary robo-hero and a desert planet are the premises of the game. The hero's journey towards discovering the way to achieve human status (in both body and spirit) is the main goal of the character and the player's to be achieved mission. The robot's quest leads him across various chambers and floors corresponding to the route inside the mysterious tower, and involving the player's progress through the different levels of the game. The main characteristic of the game are conceptual understanding and alternative enhancing methodologies. Notions like linear operators and their eigenvectors turn into key concepts for survival and progress within the game strategy. Opening doors, avoiding traps, and collecting items is just a pretext for mastering rotations, translations and scaling transformations in the Linear Algebra notations. Guessing is not a valid strategy, since slightly different linear operators imply strong changes in the progress of the game. Wrong answers are punished within the game's story (lost items or even death). Nevertheless, there is no manifest intention in teaching Mathematics through the game, its main goal being rather to attract students towards a deeper comprehension of the concepts taught in the standard academic course. From a technical point of view, the elements of the game are designed in Autodesk 3DS Max and Unity 3D Engine, meeting all the demands of a captivating and interesting third person game.

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Cobos, Miguel, and Carlos Borja. "Video game design to promote environmental conservation." In Human Systems Engineering and Design (IHSED 2021) Future Trends and Applications. AHFE International, 2021. http://dx.doi.org/10.54941/ahfe1001143.

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The objective of this research was to design a video game to promote environmental conservation in school children. This work was based on the SUM methodology as well as the considerations proposed by Schell and Rogers. Working meetings were held with the data obtained from the research instruments, aiming to place the project in a context close to the participants, so that the final product would be very familiar to them; then the characters that should also be within the context and the script as a key piece in the telling of the story were determined. To generate the video game design document, the recommendations made by Rogers were considered. In this project we have worked directly with the target audience, generating rapid prototypes that allowed the refinement of this, finally we obtained the design document, which will serve as the basis for its development. It is expected with this video game to get students interested in environmental conservation.

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