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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)
Unrestricted
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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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Persson, Louise. "To Kill or Not to Kill : The Moral and Dramatic Potential of Expendable Characters in Role-playing Video Game Narratives." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12347.
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Killing in role-playing video games is often a prominent feature. Most of the times, the characters killed are nameless criminals or minions of the true antagonist and if the game wants the player to kill, the player will most probably kill. This research was conducted to see how a dynamic narrative could affect a player’s choice of whether or not to kill expendable adversaries when a choice was provided. Participants played an interactive narrative in two different versions, followed by interviews, to see how narrative consequences and mechanisms for moral disengagement affected the players’ choices. The results showed that the choice of whether or not to kill could be affected if the narrative is dynamic and the non-playable characters reflect upon the choices made. Future studies should be conducted to see how graphics and sound affect the choices, and to see if it might be the mere choice in itself that affects the players the most.
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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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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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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.
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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
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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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Jensen, Michelle. "New Media and Interactivity." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1522.
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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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Jensen, Michelle. "New Media and Interactivity." University of Sydney, 2006. http://hdl.handle.net/2123/1522.
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Master of Visual ArtsDigital/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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Drazdauskas, Laurynas. "Virtual Reality as a Phenomenon of Art." Thesis, Linköping University, Department of Philosophy, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-7645.
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In this essay results are developed on two different levels. First, it is shown in demonstration that a phenomenological analysis on the lines of Roman’s Ingarden’s study of works in literature can be applied to Virtual Reality works, such as professional-simulators and video-games. In particular it can then be pointed out that: i) sound is separable from the scene, but using sound VR becomes enriched; ii) the main role in literature is left for the imagination, while in VR we find richness in concretization.
Second, it is argued in discussion that works in VR can be qualified as works of art. These electronic works may have all the aesthetical qualities (based on the phenomenology of Roman Ingarden) of the works of art in the traditional sense. So, that paper has two objectives: an analysis of VR and the search for the status of VR in art.
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Wilson, Jason Anthony. "Gameplay and the Aesthetics of Intimacy." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365610.
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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
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Mendonça, Bruno de Abreu. "Do game à arte: processo criativo em gamearte." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3833.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The research presented here seeks, through the investigation of the characteristics and ways of the electronic games, analyze their possibilities as an art object – the form of artistic expression called gameart. Through exploratory research that permeates the origins of video games, their relationships, motivations and evolution, its intended to develop a deeper understanding of the structure and definition of the electronic game in order to develop an gameart object that can reflect, deconstruct and /or criticize characteristics from the universe of eletronic games . After presenting the definition, genres and formats of games, the research turns to the definition and analysis of the concept of gameart, revisiting the origins of this new creative possibility and reflecting on the possibilities to treat a video game as an art object. The theoretical analysis developed here became the basis for experimentation and construction of aesthetic and conceptual scheme, aiming at the creative process of two gameart objects , the first more generalist and created as an exercise of introduction to the universe of gameart and the second, deeper, seeking a detailing of the elements that define it. Both gameart objects served as basis for the construction of a third – and last – gameart object, presenting concepts acquired by experience with previous works : Labyrinth of the Mind.
A pesquisa aqui apresentada busca, através da investigação acerca dos moldes e características dos chamados games – jogos eletrônicos – analisar suas possibilidades como objeto de arte, sendo que essa forma de expressão artística é denominada gamearte. Através da pesquisa exploratória que perpassa as origens dos jogos eletrônicos, suas relações, motivações e evolução, pretende-se desenvolver uma compreensão mais profunda sobre a estruturação e definição do termo game afim de desenvolver um objeto de gamearte que consiga refletir, desconstruir e/ou criticar características do universo dos games. Após a apresentação da definição, os gêneros e formatações de games, a pesquisa se volta para a definição e análise do conceito de gamearte, revisitando as origens dessa recente possibilidade criativa e refletindo acerca das possibilidades de se tratar um jogo eletrônico como objeto de arte. As análises teóricas aqui desenvolvidas serviram de base para a experimentação e construção do raciocínio estético e conceitual visando o processo criativo de dois trabalhos de gamearte, o primeiro deles mais generalista e criado como exercício de introdução ao universo da gamearte e o segundo mais detalhista, visando um aprofundamento nos elementos que o definem. Ambos os trabalhos serviram, então, de base para a construção de um terceiro – e último – objeto de gamearte, que apresenta conceitos adquiridos pela experiência com as obras anteriores: Labirinto da Mente.
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Paananen, A. (Anniina). "The development of the character of Lara Croft as manifested in the dialogue between her and other characters in the Tomb Raider reboot video game." Bachelor's thesis, University of Oulu, 2017. http://urn.fi/URN:NBN:fi:oulu-201706072625.
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The purpose of this thesis is to examine the development of the character of Lara Croft by analysing her dialogue with four other characters in the video game Tomb Raider, from 2013. The four other characters are Conrad Roth, Samantha “Sam” Nishimura, Alex Weiss and Dr James Whitman. In analysing the dialogue, content analysis was used in order to discover common themes in Lara Croft’s relationships with the other characters. The themes found in the dialogue are strength, trust, affection, guilt and acceptance. These themes appear differently in her relationships, each of which revealing a different aspect of her development. The analysis of the dialogue shows Lara Croft’s development as a character as she grows from an inexperienced adventurer into a strong but withdrawn survivorTämän tutkielman tarkoituksena on tarkastella Lara Croftin hahmon kehitystä analysoimalla hänen dialogiaan neljän muun hahmon kanssa videopelissä Tomb Raider vuodelta 2013. Kyseiset neljä muuta hahmoa ovat Conrad Roth, Samantha “Sam” Nishimura, Alex Weiss ja Dr James Whitman. Dialogin analysoinnissa käytettiin sisällönanalyysiä, joka paljasti yhteisiä teemoja Lara Croftin suhteissa muiden hahmojen kanssa. Teemat, jotka dialogista löytyivät, ovat vahvuus, luottamus, kiintymys, syyllisyys ja hyväksyntä. Nämä teemat ilmenevät eri tavoin hänen suhteissaan, joista jokainen paljastaa eri puolen hänen kehityksestään. Dialogin analyysi osoittaa Lara Croftin kehityksen hahmona, kun hän kasvaa kokemattomasta seikkailijasta vahvaksi mutta sulkeutuneeksi selviytyjäksi
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Tarasevičius, Gediminas. "Didvyrio mitas vaizdo žaidimuose." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110804_091745-91279.
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Darbe, remiantis C. G. Jungo kolektyvinės pasąmonės modeliu, nagrinėjamas Joseph‘o Campbell‘o susistematizuotas „Didvyrio mitas“. Nepriklausomai nuo kultūros ir geografinės padėties, universalia forma visame pasaulyje aptinkamas klasikinis mitinės herojaus kelionės šablonas naudojamas ne tik literatūroje, tačiau ir vaizduojamajame mene, besiremiančiame pasakojimu – tame tarpe ir vienoje naujausių medijų meno šakų – vaizdo žaidimuose. Darbe tiriamos universalaus „Didvyrio mito“ interpretacijos vaizdo žaidimuose ir šios medijos įtakoti nukrypimai nuo klasikinio mito modelio.The theme of this work is „Hero‘s Journey‘s representation in video games“. In this work, based on C. G. Jung‘s concept of collective subconsciousness, the content of „Hero‘s Journey“(as systemized by Joseph Campbell) is analyzed. The concept of universal myth is found not only in the literature, but also in most of the visual art which is based on narrative element, including video games. The work analyzes the interpretation of „Hero‘s Journey“ in video games and identifies the variations of the template of the universal myth as it occurs in this video game medium.
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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'ouvertThe 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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Aubrecht, Michelle Adrienne. "Using Gamestar Mechanic with Elementary Art students: An exploration of one teacher’s experiences." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313592553.
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Davies, Huw. "Towards a more versatile dynamic-music for video games : approaches to compositional considerations and techniques for continuous music." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:3f1e4cfa-4a36-44d8-9f4b-4c623ce6b045.
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This study contributes to practical discussions on the composition of dynamic music for video games from the composer’s perspective. Creating greater levels of immersion in players is used as a justification for the proposals of the thesis. It lays down foundational aesthetic elements in order to proceed with a logical methodology. The aim of this paper is to build upon, and further hybridise, two techniques used by composers and by video game designers to increase further the reactive agility and memorability of the music for the player. Each chapter of this paper explores a different technique for joining two (possibly disparate) types of gameplay, or gamestates, with appropriate continuous music. In each, I discuss a particular musical engine capable of implementing continuous music. Chapter One will discuss a branching-music engine, which uses a precomposed musical mosaic (or musical pixels) to create a linear score with the potential to diverge at appropriate moments accompanying onscreen action. I use the case study of the Final Fantasy battle system to show how the implementation of a branching-music engine could assist in maintaining the continuity of gameplay experience that current disjointed scores, which appear in many games, create. To aid this argument I have implemented a branching-music engine, using the graphical object oriented programming environment MaxMSP, in the style of the battle music composed by Nobuo Uematsu, the composer of the early Final Fantasy series. The reader can find this in the accompanying demonstrations patch. In Chapter Two I consider how a generative-music engine can also implement a continuous music and also address some of the limitations of the branching-music engine. Further I describe a technique for an effective generative music for video games that creates musical ‘personalities’ that can mimic a particular style of music for a limited period of time. Crucially, this engine is able to transition between any two personalities to create musical coincidence with the game. GMGEn (Game Music Generation Engine) is a program I have created in MaxMSP to act as an example of this concept. GMGEn is available in the Demonstrations_Application. Chapter Three will discuss potential limitations of the branching music engine described in Chapter One and the generative music engine described in Chapter Two, and highlights how these issues can be solved by way of a third engine, which hybridises both. As this engine has an indeterminate musical state it is termed the intermittent-music engine. I go on to discuss the implementation of this engine in two different game scenarios and how emergent structures of this music will appear. The final outcome is to formulate a new compositional approach delivering dynamic music, which accompanies the onscreen action with greater agility than currently present in the field, increasing the memorability and therefore the immersive effect of the video-game music.
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Blake, Greyory. "Good Game." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.
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This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.
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Le, Prado Cécile. "Ecriture sonore : entre déterminisme, émergence et interactivité." Thesis, Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0913/document.
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L’auteur de cette thèse a réalisé, en tant que compositeur, un ensemble d’installations sonores. Ce travail part d’une composition déterministe et linéaire et mène progressivement à une œuvre ouverte. Durant les dernières années, ce travail a été influencé par les méthodes d’écritures utilisées dans la conception de jeux vidéo, aboutissant à des œuvres sonores spatiales et interactives. Dans le processus de conception de ces dernières, le compositeur va être amené à penser la conception sonore dans un espace virtuel ou réel en fonction des déplacements d’un auditeur. Une façon de mener cette démarche est de laisser l'auditeur interagir avec le système au travers de personnages non joueurs (PNJ). Un tel choix témoigne de l'évolution du rôle du compositeur depuis la construction d’une œuvre linéaire et déterministe vers celle d’une œuvre ouverte et non déterminisme. Pour une pièce donnée, le créateur laisse à l’interacteur un certain degré de liberté et au système un certain degré d'autonomie.Nous débutons ce travail par un état de l'art couvrant divers domaines, de l'art interactif aux agents intelligents.Le troisième chapitre est consacré à l'analyse des pièces interactives conçues par des musiciens, plasticiens, designers de jeux. De cette analyse, nous dégageons un ensemble de critères de classification et nous plaçons ces œuvres d'art dans un triangle Concepteur/Interacteur/Système (C.I.S.). La position d’une œuvre dans ce triangle détermine la latitude que laisse le concepteur aux deux autres protagonistes.Le quatrième chapitre pose la problématique de cette thèse. Nous sommes partis du fait qu’une méthode et à fortiori des outils informatiques sont souvent liés à un style d’écriture. L’histoire des outils d’écriture informatique, jusqu’aux moteurs de jeux vidéo, reflète des visions différentes de ce qu’est la notion d’interactivité dans un domaine et à une époque donnée. Nous proposons ici que le concepteur puisse prendre le point de vue d’un des deux autres protagonistes: l’interacteur ou les PNJ. Ceci aboutit à deux styles que nous appelons le style scripté d’une part et le style émergent d’autre part. Nous comparons ces styles d’un point de vue de l’écriture dans les jeux, de la notion de narrateur, de l’ouverture de l’œuvre et du style de programmation. Cette première comparaison formelle ne permet pas de tirer des conclusions convaincantes. Le cinquième chapitre est consacré à la conception et au développement d’une même installation, Le promeneur écoutant, selon les deux styles cités au chapitre précédent. La version scriptée a été réalisée dans le cadre du projet Terra Dynamica. Nous en proposons une seconde écriture en style émergent et comparons le résultat des deux approches. Nous parcourons l’ensemble des étapes de conception et de réalisation, de la spécification informelle à la programmation. Nous analysons du point de vue du concepteur ces deux styles. Nous montrons que le style émergent, séduisant à priori, aboutit à une complexité de création et de mise en œuvre très importante. Dans les deux cas, les lacunes et besoins en matière de méthodes et d’outils sont mis en évidence.Dans la conclusion, ce travail d’expérimentation est complété par une enquête donnant le point de vue de plusieurs concepteurs d’œuvres interactives sur notre problématique. Nous concluons par une synthèse de ce travail et une analyse de ses développements possibles tant sur le plan conceptuel de l’écriture que sur le développement d’outils auteursThe author of this thesis has worked as music composer on numerous sound walk art installations. During the last decade, this work has been influenced by the design methods used in video games, leading to interactive sound walk pieces. In the design process of such pieces, as compared with interactive music works, the composer must write her/his sound design in a real or a virtual space according to the listener’s promenade. A way to drive this walk is to let the listener interact with the System through Non Player Characters (NPC). Such an installation shows the evolution of the composer’s role from that of a deterministic creation to a non-deterministic one. For a given piece, the creator leaves to the interactor a certain amount of freedom and to the system, according its level of self-sufficiency, a certain amount of autonomy. According to these two parameters, each art piece can be positioned somewhere within a triangle D.I.S. which vertices are the Designer, the Interactor and the System. The main goal of this thesis is to analyze the goals and the needs of the designer of such interactive pieces, in terms of methodology and tools. We begin this work by a state of the art covering various fields, from interactive art to intelligent agents. The third chapter is devoted to the analysis of interactive pieces designed by musicians, plastic artists, game designers. From this analysis we propose a set of classification criteria and we place these art works in the DIS triangle. The fourth chapter raises the problematic of our research. We assume that the choice of a position in this triangle is directly related to a choice between two writing styles, the “scripting style” and the “emergent style”. In the scripting style, the designer takes the point of view of the interactor who becomes the narrator. In the emergent style, the designer takes the point of view of the NPC. The two styles are first compared according to the criteria presented in the previous chapter.For a deeper analysis of the two styles, we have designed, with the help of a development team, two versions of the same interactive sound installation The Listening Walker. The installation was created in Paris during the “Futur en Seine” Festival in June 2013 and shown as an art installation for ICEC 2013 in Sao paulo.The goal of this sound walk is to discover a virtual district of Paris around the Pantheon. This installation is designed as a video game with different levels of exploration. The player’s reward is the discovery of the city mainly via sound. Success depends on his listening behavior: NPC are moving around him, interpreting his moves, the direction he takes and the time spent listening particular sounds. Depending upon the listener’s attitude, each NPC has his own reaction such as running away, getting closer to the listener, ignoring him or helping him to discover secret areas. In the fifth chapter, we present the whole creation and development process of the two versions of the installation. It starts with the constraints and artistic choices. The informal specifications of the two versions are presented and the methods and programming methodologies used described. In both cases, the lack of efficient tools for non programmers is pointed out. This experiment shows also the great complexity of the emergent style compared to the scripting style: it is much more difficult to specify a world than to write a story, even an interactive one.In the conclusion, we corroborate our analysis with the point of view of creators working in different fields from interactive music to game design. Some possible extensions of this work are then presented
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TONIOLO, FRANCESCO. "YOUTUBE E VIDEOGIOCHI. PROSPETTIVE DI RICERCA SU PRODUZIONE,DISTRIBUZIONE E IMMAGINARI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58408.
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La presente tesi propone una mappatura sui rapporti fra i creatori di contenuti su YouTube (definiti “youtubers”) e i videogiochi. L’impatto di queste nuove figure, collocate fra il profilo dell’influencer e della celebrity, è stato indagato osservandone le ricadute economiche, produttive e di immaginario. L’indagine è stata condotta sfruttando differenti fonti, metodologie (qualitative e quantitative) e prospettive teoriche, in una generale collocazione nel quadro delle industrie creative intrecciate con i game studies e i cosiddetti “YouTube studies”. La tesi, oltre a fotografare l’attuale situazione del gaming su YouTube, presenta un modello le cui buone pratiche possono essere applicate ad ulteriori casi, legati non solo ai videogiochi ma al settore delle industrie creative in generale.The research project investigates the connections between YouTube content creators (“youtubers”) and video games. The impact of these youtubers, half influencers and half celebrities, is observed in its economic and productive dimension, and in its influence on the collective imagination. The analysis has been conducted with different sources, methodologies (both qualitative and quantitative) and theoretical prospectives, in a general framework related to creative industries, game studies and “YouTube Studies”. The research analyzes the current situation of gaming contents on the YouTube platform, and presents a model related to content creators in the creative industries.
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Schrank, Brian. "Play beyond flow: a theory of avant-garde videogames." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/42865.
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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.
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Hadzinsky, Chad. "A Look into the Industry of Video Games Past, Present, and Yet to Come." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/842.
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Since its inception, the video game industry has been both a new medium for art and innovation as well as a major driving force in the advancements of many technologies. The often overlooked video game industry has turned from a hobby to a multi-billion dollar industry in its short, forty year life. People of all ages and genders across the world are playing video games at a higher clip than ever before. With so many new gamers and emerging technologies, it is an exciting time for the industry. The landscape is constantly changing and successful business models of the past will need to find ways to adapt if they wish to remain successful in the growing industry.
Looking at how past trends and technological innovations have driven the industry gives understanding and insight into where it is at today and where it will go in the future. Video games have become an interactive art medium which inspires users to explore and create. The digitalization of games and their extreme popularity reflect our instinctive desire to seek out game-playing for its fun, cooperative, and competitive nature.
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Stanko, John. "Playing to Learn." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1512.
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This creative project explores some major issues about visual communication in digital games. The project will continue to address new questions and invite questions from my visual and communication design colleagues. My hope is that, through this document, designers will see digital games like photography was seen around the turn of the century, and movies in the 1950's and 60's. In other words, as a rich new medium that offers creative people a virtually unexplored environment in which to work and create.�
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Washburn, Megan E. "Dynamic Procedural Music Generation from NPC Attributes." DigitalCommons@CalPoly, 2020. https://digitalcommons.calpoly.edu/theses/2193.
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Procedural content generation for video games (PCGG) has seen a steep increase in the past decade, aiming to foster emergent gameplay as well as to address the challenge of producing large amounts of engaging content quickly. Most work in PCGG has been focused on generating art and assets such as levels, textures, and models, or on narrative design to generate storylines and progression paths. Given the difficulty of generating harmonically pleasing and interesting music, procedural music generation for games (PMGG) has not seen as much attention during this time.
Music in video games is essential for establishing developers' intended mood and environment. Given the deficit of PMGG content, this paper aims to address the demand for high-quality PMGG. This paper describes the system developed to solve this problem, which generates thematic music for non-player characters (NPCs) based on developer-defined attributes in real time and responds to the dynamic relationship between the player and target NPC.
The system was evaluated by means of user study: participants confront four NPC bosses each with their own uniquely generated dynamic track based on their varying attributes in relation to the player's. The survey gathered information on the perceived quality, dynamism, and helpfulness to gameplay of the generated music. Results showed that the generated music was generally pleasing and harmonious, and that while players could not detect the details of how, they were able to detect a general relationship between themselves and the NPCs as reflected by the music.
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Holmdahl, Arnman Thea. "Konstverket i spelmiljö : En undersökning av spelet Animal Crossing: New Horizons (2020) användande av konstverk och presentation av museet som institution." Thesis, Södertörns högskola, Konstvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-44039.
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This essay focuses on the digitalization of art canonisation in the game Animal Crossing: New Horizons (Nintendo/Nintendo EPD, 2020). Furthermore, the purpose of this essay is to understand which artworks the game incorporates in its museum, as well as how the player can interact with the artworks in question. Bolter and Grusin's remediation theory are thoroughly explored through the material, as well as the maintaining of norms through representation. The conclusion is that the game allows the player to interact restrictedly with the art in the museum, but is allowed more freedom outside of it. However, the restricted interaction is strongly incorporating known norms of how to behave and interact with the museum as an institution. These norms are also applicable in situ – outside of the museum's pixelated world. The aura of the artworks is compromised through the notion that the player can obtain any number of original artworks. Still, the originality and aura of the artworks are secured through the institutionalised environment in the museum.Uppsatsen behandlar digitaliserad konsts kanonisering i spelet Animal Crossing: New Horizons (Nintendo/Nintendo EPD, 2020). Uppsatsens syften är att analysera vilka konstverk som spelet integrerar i sitt museum och hur dessa verk kategoriseras, samt hur spelaren kan interagera med konstverken. Bolter och Grusins remedieringsteorier behandlas utifrån denna frågeställning med fokus på digitalisering och konstrepresentation. Slutsatsen är att spelarens interaktion med konstverken på det digitala museet är begränsad, men att spelaren får mer frihet i spelets andra miljöer. Således följs etablerade konventioner kring hur besökaren på ett museum ska bete sig. Konstverkens aura förändras då spelaren kan inneha hur många originalverk som helst. Trots denna omdefinierade aura stärks däremot verkens originalitet av museets institutionaliserade och auktoritära presentation.
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Johansson, Anneli, and Tove Dahlström. "Diffraktion i spelgrafik;En metod för analogt och digitalt konstskapande." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-19946.
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Konstnärens roll som forskare är svår att placera då det är svårt att hålla sig objektiv när ens forskning går ut på att undersöka ens kreativa handlingssätt som en individ.. Detta kandidatarbete har tagit ståndpunkten av en posthumanistiskt synvinkel på världen och hur vi agerar med den, speciellt genom ögonen på konstnären och ens material. Med detta i åtanke så utvecklade vi vår frågeställning kring fenomenet av diffraktion. Diffraktion är ett naturlig fenomen där vågor av ljus kolliderar och formar ett mönster där vi kan studera effekten av de skillnader som uppstår. Vår förståelse och syn på diffraktion är baserat på Donna Haraways och Karen Barads djupdykande kunskap kring området både i ett filosofiskt och vetenskapligt perspektiv. Med diffraktion som metod experimenterar och dokumenterar vi vår position och intra-aktioner med vårt konstnärliga material som en bestående partner i att materialisera en 3D miljö inuti en spelmotor. Vi och vårt material blir fokusgruppen för vår undersökning för att svara på frågan hur diffraktion kan användas som en metod för konstnärligt skapande med analoga och digitala verktyg. Denna resa dokumenteras genom anteckningar och reflektioner från våra individuella perspektiv och beskriver även vår produktionscykel för att belysa vår process och vilka metoder som implementerades i vilken del av processen. För att avsluta detta arbete så diskuterar vi även de förhållanden som uppstod i vår undersökning och hur temat och fokuset skulle kunna expandera utanför vår valda inriktning.The role of the artist as a researcher is difficult to place since it’s hard to be objective while researching your creative approach as an individual. This bachelor thesis has taken the stance of the post-humanist viewpoint on the world and how we as humans act within it, especially through the eyes of the artist and our relationship to our materials. With this in mind, we developed our research question surrounding the phenomena of diffraction. Diffraction is a natural phenomena where waves of light collide and form a pattern where we can look at the effect of the differences that occur. Our understanding and take on diffraction is based on Donna Haraway’s and Karen Barad’s deep knowledge on the subject in both a philosophical and scientific way. With diffraction as a method we experiment and document our positions and intra-actions with our artistic material as our joined partner in materializing a 3D environment within a game engine. We and our material become the research subjects to answer the question about how diffraction can become a method for artistic creation in a blend of analogue and digital art production. This journey is documented through notes and reflections from our separate perspectives and we also lay out our production cycle to display our process and which production methods are integrated where. To finish this paper, we discuss the conditions of our work and how the theme and subject of this research could be expanded upon.
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Rempulski, Nicolas. "Synthèse dynamique de superviseur pour l'exécution adaptative d'applications interactives." Thesis, La Rochelle, 2013. http://www.theses.fr/2013LAROS407/document.
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Cette thèse a pour objectif de proposer des solutions aux problématiques de la narration interactive. Nous souhaitons ainsi proposer une méthode de conception pour les auteurs, ainsi qu’une logique d’exécution utilisant ce modèle pour contrôler la construction d’un récit. Nous appliquons nos travaux au contexte des jeux vidéo, mais souhaitons adresser la narration interactive dans une dimension plus large. Nous abordons la narration interactive comme une déstructuration de la narration classique. Le processus de création du récit n’est ainsi plus à la seule charge de l’auteur, mais implique également le public. Au travers d’une revue de la narration classique, nous souhaitons donc, dans un premier temps, formaliser le récit et ses enjeux. Nous utilisons ensuite le concept d’œuvre en mouvement pour identifier les processus et acteurs mis en jeu dans la coproduction d’une œuvre, et ainsi définir les enjeux de nos travaux. Pour adresser ces problématiques, nous proposons un modèle de la narration interactive à base d’automates. Celui-ci permet un contrôle et une vérification des récits possibles, tant lors de la conception, que dynamiquement à l’exécution. Cependant ce formalisme peut être complexe à prendre en main pour des auteurs non-initiés. Ainsi, nous formulons un modèle de haut-niveau, basé sur les concepts de la narratologie, permettant à ces derniers de créer un modèle de narration interactive en manipulant des concepts qu’ils maitrisent. Ce modèle est alors converti vers notre modèle à base d’automates. Ce dernier sert alors de référent pour le contrôle dynamique de la narration interactive par un superviseur multi-agents. Celui-ci, par observation des évènements produits dans le jeu vidéo, est alors en mesure de contrôler le récit en cours de production pour garantir les critères de qualités spécifiés par l’auteur. Nous proposons une implémentation de notre approche sous la forme d’un framework, comprenant notamment des outils auteurs d’édition des modèles que nous définissons, mais également les algorithmes de supervision nécessaires à l’asservissement de l’univers virtuel du jeu vidéoThis PhD thesis has for objective to propose solutions to interactive storytelling problems. We aim to propose a design method for the authors, as well as a logic of execution using this model to control the narrative unfolding. We apply our works in the video games context, but wish to address interactive storytelling in a wider dimension. We so approach the interactive story as a breakdown of the classic storytelling. Indeed, interactive storytelling creation process is not any more only under the author responsability, but also involves spectators. Through a review of the classic storytelling, we thus wish, at first, to formalize storytelling and its stakes. We use then the concept of ”œuvre en mouvement” to identify processes and actors involved in this creation process of a work, and thus to define the stakes in our research works. We propose an interactive storytelling mode base on automata. This one allows a controland a check on possible narratives, during design as well as dynamically while producing the story. However this formalism is complex to handle by authors. So, we formulate a top-level model, based on storytelling concepts, allowing authors to create an interactive story model using concepts they know. This model is then converted into our automaton based model. The latter serves then as referent for the dynamic control of the interactive storytelling, done by a supervisor multi-agents. This one, by observing produced events in the video game, is then able of controlling and guarantee the quality criteria specified by authors. We propose an implementation of our approach in a framework, including authoring tools to edite our models. We also implements automata check and supervision algorithms necessary to control video game virtual universe
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Orain, Hugo. "Images et Révolution en mouvement : représentations fictionnelles de la Révolution française au cinéma, à la télévision et dans le jeu vidéo entre 2000 et 2020." Thesis, Rennes 2, 2022. http://www.theses.fr/2022REN20013.
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Notre thèse interroge les mythologies contemporaines qui transforment notre perception du passé, en nourrissant un imaginaire social, et en se heurtant aux récits des historiens. Pour cela, nous avons étudié 23 représentations fictionnelles de la Révolution française au cinéma, à la télévision et dans le jeu vidéo, en France, entre 2000 et 2020. La Révolution est un objet mémoriel qui persiste en grande partie grâce aux fictions. Des mythologies contemporaines, comme la focalisation sur la Terreur et la violence révolutionnaire, alimentent une vision sombre de l'histoire, et s'opposent à une mémoire républicaine positive. Les fictions que nous avons analysées sont vues et jouées par des millions d'individus, ainsi les récits fictionnels constituent une "école parallèle" qui concurrence les travaux historiques. Jusqu'à ce jour, aucune recherche en histoire n'avait véritablement été menée sur ces enjeux. Notre approche est inédite parce qu'elle est intermédiatique, c'est-à-dire que nous avons combiné les trois médias (cinéma, télévision et jeu vidéo), selon l'idée qu'il existe aujourd'hui une hybridation médiatique dans les processus de conception. Dans cette thèse, à l'aide de sources de conception et de réception (entretiens, making-off, art work, critiques...), nous avons déconstruit les fictions contemporaines pour appréhender les mécanismes de représentation du passé. Les historiens doivent faire entrer les fictions dans leur laboratoireOur thesis questions the contemporary mythologies which transform our perception of the past, by nourishing a social imagination, and by colliding with historian narratives. For this, we studied 23 fictional representations of the French Revolution in cinema, television and video game, in France, between 2000 and 2020. The Revolution is a memorial object that persists largely thanks to fictions. Contemporary mythologies, such as the focus on the Terror and revolutionary violence, feed a dark vision of history, and oppose a positive republican memory. The fictions that we have analyzed are seen and played by millions of individuals, thus fictional narratives constitute a "parallel school" which competes with historical works. Until this day, no historical research has really been conducted on these issues. Our approach is unique because it is intermedia, that is to say that we have combined three media (cinema, television and video games), according to the idea that there is a media hybridization in design process. In this thesis, using sources of conception and reception (interviews, making-off, art work, reviews...), have deconstructed contemporary to understand mechanisms of representation of the past. Historians must bring fictions into their laboratory
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Grose, Shaun David. "Caught in time: a close reading of life is strange." Thesis, 2017. https://hdl.handle.net/10539/24565.
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Digital games offer a unique perspectives as they allow the consumer to interact and affect the media; some digital games have constructed gameplay mechanics around the manipulation of time, allowing the player to directly affect the passage of time within the game world. [No abstract provided. Information taken from introduction].GR2018
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Cutumisu, Maria. "Using behaviour patterns to generate scripts for computer role-playing games." 2009. http://hdl.handle.net/10048/583.
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Thesis (Ph.D.)--University of Alberta, 2009.Title from PDF file main screen (viewed on Sept. 9, 2009). "A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Department of Computing Science, University of Alberta." Includes bibliographical references.
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Shelton, Jake M. G. "An empirical study of fictitious human spokes-characters: the use of video game characters as brand endorsers to improve the purchase intentions of consumers." Thesis, 2015. http://hdl.handle.net/10539/18811.
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Thesis (M.Com. (Research))--University of the Witwatersrand, Faculty of Commerce, Law and Management, School of Economic and Business Sciences, 2015.Celebrity endorsements have been established as one of the most preferred methods of advertising by marketers. This popularity springs from the numerous benefits which advertisers experience when employing a celebrity endorser. However there are also a number of potential risks which can cause major problems when using a celebrity as part of a brands marketing campaign. The benefits of using a celebrity endorser can be markedly reversed if the celebrity is involved in a controversial incident. As a solution to this problem this research has investigated the use of video game characters as celebrity brand endorsers. This is because video game characters are celebrities in their own right but they are not plagued by the same risks and problems as ordinary celebrities. This type of endorsement has been done in the past, an example being the use of Lara Croft to endorse Lucozade, and this kind of endorsement has been shown to boost sales. This research addresses a gap in knowledge by investigating the plausibility of using a video game character in place of a celebrity to endorse a brand. This research has applied the learnings from several models of celebrity endorsement to the use of video game characters in order to investigate the positive characteristics which consumers perceive about video game characters and how these characteristics affect their interests in purchasing the products. The Models which were used were: the Source Attractiveness Model, the Source Credibility Model and the Match-Up Hypothesis. The overlapping constructs of these models were used to develop the Theoretical Model of Fictitious Human Spokes Characters. iv This research consisted of a self-administered quantitative research questionnaire, which was tested using a pilot study of 45 respondents. The questionnaire was distributed in the city of Johannesburg, South Africa, to a sample group of 493 respondents between the ages of 18 to 35. Fictitious adverts were used as stimuli during the questionnaire. The data collected was analysed using statistical analysis to investigate the relationships between the variables used in the research model. Convenience sampling was used because of time and monetary constraints. This research found that video game characters that are perceived by the target audience to be attractive, likeable, familiar, trustworthy, an expert in relation to the product being endorsed and matched well with the product being endorsed can be used to increase the purchase intentions of the target audience when the characters are used to endorse a brand. This research also found that the endorsements are not equally effective for consumers of different genders or for consumers who have previous experience with video games and those that do not. It can be recommended that marketers invest time into investigating the usefulness of using video game characters as endorsers for their brand. It can also be recommended that video game companies seek opportunities to create partnerships with marketers to use their characters as brand endorsers.
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Kerr, Christopher M. "Intentional dialogues leveraging intent to enable the effective reuse of content /." 2009. http://hdl.handle.net/10048/813.
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Thesis (M.Sc.)--University of Alberta, 2009.Title from PDF file main screen (viewed on Apr. 1, 2010). A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Science, Department of Computing Science, University of Alberta. Includes bibliographical references.
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Bednarz, Megan Reneé. "Morality and Meaning in Video Games: A New Approach to Christian Game Design." Thesis, 2011. http://hdl.handle.net/1969.1/ETD-TAMU-2011-05-9069.
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A review of the history of video game design reveals an emphasis on themes of competition, survival, and combat. Game designers are now increasingly exploring other themes, including ethics, morality, and religious or spiritual subjects. This thesis analyzes the design of a 2D single-player computer game based on Christian principles, investigating morality, ethics, and meaning in video games. The game builds on previous games, examining the ethical relevance of certain video games as
cultural artifacts and as personal inspiration, expounding on how games can be both inspirational and educational.
Though violent games can provide moral challenges and "ethically significant experiences," in this project, non-violent solutions are more conducive for a game based on Christian tenets. This thesis project reinterprets the idea of the "shmup" or scrolling shooter game by changing the game mechanics and win condition to express a non-violent process. The player takes on the role of an angel who has been sent to rescue birds from demons, presenting general subjects for wide audience appeal regardless of religious beliefs.
The thesis outlines the process used in the design, the philosophical approach, and the technical and artistic methods used to create the game. The game is evaluated subjectively with respect to the goals set forth in the design, based on informal player feedback. This thesis contributes to the exploration of games in a spiritual, artistic, moral, and emotional context and the process outlined herein provides a practical example to other independent game developers in the design of a game based on spiritual themes.
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Tsai, Ming-Feng, and 蔡名峰. "The Illustrated Works of Computer Game Characters in the Records of Three Kingdoms Based on the Art Nouveau Style." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/83015058544673943576.
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碩士國立臺灣藝術大學
視覺傳達設計學系碩士班
99
In recent years, the market value of computer game industry is gradually raising day by day. From the worldwide famous Electronic Entertainment Expo (E3), it can be discovered that computer game industry has overtaken ten billion dollars for US business several years. Even in the west, it is considered to keep pace with film industry. As well as in Asia, the business of online game should not be underestimated, bringing in almost NT$ 100 billion for Taiwan business every year. With an example of Japan and Korea, the GDP of online game industry has already surpassed both the GDP of electrical appliance industry and the GDP of automobile industry. In conclusion, the field of online game design is becoming a hot industry which can not be ignored. The study has two main aspects which focus on the design of computer game characters. One aspect is to find out appropriate styles and elements for designing computer game characters by investigating the western painting styles of the Art Nouveau in the nineteenth century; the other aspect is to research those mighty heroes in both “Records of Three Kingdoms”, the masterpiece of Chinese historiography and “Romance of the Three Kingdoms”, the classic of the Chinese historical fiction, generalizing the differences in images, personalities, and features from different characters. Further, the blend of the two above-mentioned results of the eastern and western different art culture backgrounds turns out to make the design of computer game characters return to local looks, and to restart after adding new concepts and design elements. Therefore, it creates a new form of design for computer game characters.
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楊智瑋. "An Application of Game/Toy-Based E-learning Courseware for Senior High School Audio and Video Art." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/92677966704578799652.
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碩士國立臺灣藝術大學
多媒體動畫藝術學系碩士班
99
“Applied Art” has been added into the course of senior high school to shorten the distance between realistic life and artistic application. However, true essence and various definitions of “Applied Art” have complicated how to teach and what to teach. Particularly difficult is art teaching which requires technical combinations and multi-media application, such as “Audio and Video Art,” whose goal is even hard to achieve given by insufficient qualified teachers nowadays. The object of the present study is to develop a Game/Toy-based e-learning courseware for the “Applied Art” course of senior high schools which bases on simulated learning theory, seeking to supplement teaching methods and materials.
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Vining, Nicholas. "Next-generation content creation: an investigative approach." Thesis, 2011. http://hdl.handle.net/1828/3830.
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The rising cost in video game content creation, both in terms of man hours and in terms of monetary dollars, restricts the ability of video game developers to create unique, entertaining content. Motivated by how this cost is a direct result of "next-generation graphics", I am motivated to ask: what would a next-generation content creation tool look like? I investigate the problem by constructing several such tools. In particular, I construct a mesh quilting algorithm for random level generation, a rapid level construction toolkit based on the concept of an architectural blueprint but supporting features such as complex silhouette geometry and roof geometry, and a tool for rapidly painting world textures. I also introduce a new system for accessing barycentric coordinate data from within the fragment shader, which can be used in support of real-time 3D image quilting, more accurate normal interpolation, and texture rendering from within the world painting tool. Some history of video game content creation is discussed, and a roadmap is charted for future development.Graduate
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Dannelly, David. "Secondary World: The Limits of Ludonarrative." Master's thesis, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6082.
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Secondary World: The Limits of Ludonarrative is a series of short narrative animations that are a theoretical treatise on the limitations of western storytelling in video games. The series covers specific topics relating to film theory, game design and art theory: specifically those associated with Gilles Deleuze, Jean Baudrillard, Jay Bolter, Richard Grusin and Andy Clark. The use of imagery, editing and presentation is intended to physically represent an extension of myself and my thinking process and which are united through the common thread of my personal feelings, thoughts and experiences in the digital age.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer Track
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Lavier, Quentin. "Jeu vidéo et mort(s) : analyse de l’imaginaire de la mort dans le jeu vidéo." Thesis, 2019. http://hdl.handle.net/1866/24163.
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Dans notre société où la mort est taboue, où le deuil doit être vécu en cachette et le sujet évité dans les sphères publiques, deux sphères ont cependant le loisir de l’aborder de manière attendue : la religion et l’art. L’art qui a retenu mon attention est le jeu vidéo pour sa capacité à mettre le joueur au contrôle de sa mort. Chaque œuvre vidéoludique présente un univers différent et chacune traitera différemment le joueur lorsqu’il échoue à une tâche. En m’intéressant à ces punitions et aux morts numériques qui en découlent, je traite de l’imaginaire mythique auquel est confronté le joueur en jouant à des jeux vidéo.
Ce mémoire se découpe en quatre chapitres. Le premier chapitre pose les thématiques et les concepts opératoires de la recherche. Une première section porte sur le jeu, puis plus spécifiquement sur le jeu vidéo. Une fois les définitions posées, je me suis intéressé à la possibilité du jeu à influencer le joueur. Dans une deuxième section, j’aborde la mort ainsi que les discours sur celle-ci (eschatologiques) et je commence à l’associer avec le jeu vidéo.
Dans le deuxième chapitre, j’aborde la problématique, à savoir que si la plupart des arts présentent une mort définitive, le joueur ne peut mourir dans le jeu vidéo. Cette problématique s’articule autour de la notion de l’évolution et de l’atteinte de l’immortalité.
Le troisième chapitre présente mon cadre théorique et ma méthodologie. J’explique la formation de mon corpus de jeux vidéo et j’explique comment il a été analysé. Le jeu vidéo est appréhendé comme un récit mythique capable de nous informer sur les mystères de la mort. Dans ce contexte, j’utilise la mythanalyse développée par Gilbert Durand pour déterminer dans chacun des jeux le rapport entre le joueur et la mort.
Le dernier chapitre présente mes résultats en regroupant les jeux par types. Je présente le rapport entre le joueur et la mort dans chacun des types ainsi que dans les jeux présentant un rapport unique à la mort.In our society where death is a taboo, where mourning must be lived in secret and the topic avoided in public spheres, two spheres have the leisure to approach it without difficulty: religion and art. The art that caught my attention is the video game for its ability to put the player in control of his death. Each video game presents a different universe, and each will treat the player differently when he fails a task. By taking an interest in these punishments and the digital deaths that ensue, I examine the mythical imaginary that the gamer faces while playing video games. This thesis is divided into four chapters. The first chapter sets out the themes and concepts of my research. The first section deals with games, then more specifically with video games. I then address the ways by which the game can influence the player. In a second section, I discuss death and the discourses on it (eschatological) and I begin to associate it with video games. In the second chapter, I develop my problematic, namely that if most of the arts present a final death, the player cannot truly die in video games. This issue is woven around the notion of evolution and the attainment of immortality. The third chapter presents my theoretical framework and my methodology. I explain the formation of my video game corpus and explain how it was analyzed. The video game is understood as a mythical story capable of informing us about the mysteries of death. In this context, I use the mythanalysis developed by Gilbert Durand to determine in each game the relationship between the player and death. The last chapter presents my results by grouping the games by type. I present the relationship between player and death in each of the types, as well as in the games with a unique relationship to death.
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Lessard, Jonathan. "Histoire formelle du jeu d’aventure sur ordinateur (le cas de l’Amérique du Nord de 1976-1999)." Thèse, 2013. http://hdl.handle.net/1866/10328.
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Cette étude s’intéresse à l’évolution formelle du jeu d’aventure de 1976 à 1999. Elle se propose de mieux comprendre les facteurs historiques contribuant à l’apparition du genre, son institution et ses transformations. La recherche est fondée sur l’analyse du discours de la presse spécialisée en jeux d’ordinateur et d’un corpus étendu d’œuvres. L’une des thèses proposées est que l’identité générique du jeu d’aventure est fondée sur une expérience vidéoludique demeurant relativement constante malgré des variations importantes de formes. Cette expérience est assurée par la reproduction des principaux éléments d’une architecture générale de design de jeu inaugurée par Adventure en 1977. Les variations formelles ponctuelles résultent d’une négociation entre la volonté de s’adapter aux changements de contexte de l’écologie du jeu d’ordinateur et la résistance d’une architecture ludique établie.
La pertinence d’une histoire d’un genre vidéoludique est justifiée au premier chapitre en fonction de l’état actuel des connaissances sur l’histoire du jeu vidéo et du jeu d’aventure. On y précise également le cadre théorique, la méthodologie et les sources étudiées. Le deuxième chapitre s’intéresse à la genèse d’Adventure de Crowther et Woods (1976; 1977) en fonction des diverses pratiques culturelles dans lesquelles l’œuvre s’inscrit. Cette analyse permet d’en dégager l’architecture ludique. Le troisième chapitre porte sur le « tournant narratif » du jeu d’aventure ayant lieu au début des années 1980. On y décrit différents facteurs historiques poussant le genre vers l’enchâssement d’histoires pré-écrites afin d’en faire un véhicule narratif. Le quatrième chapitre décrit le contexte du « tournant graphique », passage du jeu d’aventure d’une représentation textuelle à un régime visuel, ainsi que ses conséquences expérientielles. Le « tournant ergonomique » décrit au cinquième chapitre traite de l’apparition du modèle « pointer et cliquer » en fonction des avancées des connaissances concernant les interactions humain-machine ainsi que de la maturation du design de jeu comme pratique autonome. Le dernier chapitre relate l’apogée du jeu d’aventure au début de la révolution multimédia sous ses formes de film interactif et « Myst-like » puis du ralentissement – voire de l’arrêt – de son évolution formelle.This dissertation examines the formal evolution of adventure games from 1976 to 1999. It aims at understanding the genre’s emergence, its institution and transformations. The research is based on the parallel analysis of computer game magazine discourse and a large corpus of games. One of its main theses is that adventure games’ generic identity is founded on a relatively stable gameplay experience despite important formal variations. This experience is maintained by the reproduction of a general game design architecture initiated by Adventure in 1977. Specific historical models of the adventure game are the product of a negociation between developers’ efforts to adapt to changes in computer game ecology and the resistance of an established ludic architecture. In the first chapter, the research project is justified considering the current state of knowledge pertaining to digital game history in general and adventure games in particular. The theoretical framework, methodology and source materials are also detailed. The second chapter offers a fresh look at Crowther and Woods’Adventure (1976; 1977) in terms of the network of cultural practices in which it was developed. This analysis helps mapping the outlines of the game’s videoludic architecture. The third chapter describes the genre’s « narrative turn » taking place in the early 1980s. It describes the various historical factors pushing the genre as a narrative vehicle by embedding structured pre-written stories. The context of adventure games’ transition from a textual to a visual representation – and its experiential consequences – is the subject of the fourth chapter on the genre’s « graphical turn ». The « ergonomical turn » described in the fifth chapter relates the institution of the « point & click » model to contemporary advances in human-computer interaction as well as to the maturation of video game design as an autonomous practice. The last chapter gives an account of adventure games’ heyday on the onset of the multimedia revolution through the interactive film and “Myst-like” forms, followed by the slowdown – or even standstill – of its formal evolution.
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Lefloïc, Lebel Adam. "Étude de l’impact des collectionneurs sur la préservation et la conservation du jeu vidéo." Thèse, 2018. http://hdl.handle.net/1866/22064.
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