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Journal articles on the topic 'Video game characters in art'
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1
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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Packard, Brandon, and Santiago Ontanon. "A User Study on Learning from Human Demonstration." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 14, no. 1 (September 25, 2018): 208–14. http://dx.doi.org/10.1609/aiide.v14i1.13032.
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A significant amount of work has advocated that Learning from Demonstration (LfD) is a promising approach to allow end-users to create behaviors for in-game characters without requiring programming. However, one major problem with this approach is that many LfD algorithms require large amounts of training data, and thus are not practical for learning from human demonstrators. In this paper, we focus on LfD with limited training data, and specifically on the problem of active LfD where the demonstrators are human. We present the results of a user study in comparing SALT, a new active LfD approach, versus a previous state-of-the-art Active LfD algorithm, showing that SALT significantly outperforms it when learning from a limited amount of data in the context of learning to play a puzzle video game.
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D’Errico, Francesca, Paolo Giovanni Cicirelli, Concetta Papapicco, and Rosa Scardigno. "Scare-Away Risks: The Effects of a Serious Game on Adolescents’ Awareness of Health and Security Risks in an Italian Sample." Multimodal Technologies and Interaction 6, no. 10 (October 18, 2022): 93. http://dx.doi.org/10.3390/mti6100093.
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Digital games can be defined as games supported by audiovisual apparatus and based on storytelling. This work aims to frame video games in the recent perspective offered by positive psychology and focuses on risk perception and on the promotion of protective behaviors in adolescent students, by means of a new Italian ad hoc created digital game named ‘Scare-away risks’ (Scacciarischi). In its storytelling, the different characters must defeat monsters that symbolically represent potential risks in home, school and work contexts. On this basis, the present study assumes that playing video games, as an engaging and motivating activity, can improve the adolescents’ psychological perception of home, school and work risks. To verify these hypotheses, a quasi-experiment comparing students who played Scacciarischi (experimental group) with a control group was conducted. At the end of the game, a questionnaire was administered to 149 participants, balanced for gender, investigating (a) the level of engagement during the game, (b) the perceived risks, (c) the locus of control, (d) the protective behavior intentions. The results showed that playing Scacciarischi is related to higher levels of engagement, internal locus of control, risk perception and protective behavioral intentions. In addition, both engagement and internal locus of control act as precursors of the other two variables. Finally, reflections about the importance of the engaging experience of Scacciarischi in the domain of safety, prevention and health issues are proposed.
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Greenberg, Raz. "The Animation of Gamers and the Gamers as Animators in Sierra On-Line’s Adventure Games." Animation 16, no. 1-2 (July 2021): 83–95. http://dx.doi.org/10.1177/17468477211025665.
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Produced throughout the 1980s using the company’s Adventure Game Interpreter engine, the digital adventure games created by American software publisher Sierra On-Line played an important and largely overlooked role in the development of animation as an integral part of the digital gaming experience. While the little historical and theoretical discussion of the company’s games of the era focuses on their genre, it ignores these games’ contribution to the relationship between the animated avatars and the gamers that control them – a relationship that, as argued in this article, in essence turns gamers into animators. If we consider Chris Pallant’s (2019) argument in ‘Video games and animation’ that animation is essential to the sense of immersion within a digital game, then the great freedom provided to the gamers in animating their avatars within Sierra On-Line’s adventure games paved the way to the same sense of immersion in digital. And, if we refer to Gonzalo Frasca’s (1999) divide of digital games to narrative-led or free-play (ludus versus paidea) in ‘Ludology meets narratology: Similitude and differences between (video) games and narrative’, then the company’s adventure games served as an important early example of balance between the two elements through the gamers’ ability to animate their avatars. Furthermore, Sierra On-Line’s adventure games have tapped into the traditional tension between the animator and the character it animated, as observed by Scott Bukatman in ‘The poetics of Slumberland: Animated spirits and the animated spirit (2012), when he challenged the traditional divide between animators, the characters they animate and the audience. All these contributions, as this articles aims to demonstrate, continue to influence the role of animation in digital games to this very day.
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Kim, Soung-Su. "A Confusion of Virtual Reality and Reality in the VR Video Game-based Film 《Avalon》: With a Focus on the Notions of Self, Make-believe, and Legend." Academic Association of Global Cultural Contents 52 (August 31, 2022): 93–117. http://dx.doi.org/10.32611/jgcc.2022.8.52.93.
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As virtual reality technology continues to develop and become known to the public, SF films featuring VR video games have often been produced. Among them, a film 《Avalon》(2001) produced by Mamoru Oshii of Japan, famous for directing the animation 《Ghost in the Shell》(1995) is considered an art film masterpiece by SF enthusiasts, though it has failed in popular box office. Since film audiences enter the virtual world from the real world through the screen, the film 《Avalon》 which is related to VR metaverse video games, can be understood as a double embodiment of the virtual. This could be in line with the concept of ‘make-believe’ in the Kendall L. Walton's mimesis theory. This is because the self of a human being is happily deceived by various mechanical devices that implement VR and enjoys the virtual world by being confused between the virtual and the real. In this paper, the film 《Avalon》 is examined from the perspective of ‘the virtual and the real’. The film is interpreted with the conceptual tools such as legends, the virtual world, the self, ‘make-believe’ and mythical cultural archetypes. Thus, it can be seen that director Mamoru Oshii produced the religious SF film 《Avalon》 under the background of mind-body dualism and the self experiencing various levels of reality, and wanted to portray the virtual reality space of video games which does not exist in reality. On the battlefield of the video game, the character of the game player has to be killed and revived countless times. The confusion between virtual and reality is the core notion of the movie. The lives of the 21st century people seem to be somewhere in the middle of fantasy, heroism, samsara and video games, and cyberculture where second selves are created. It seems that 《Avalon》 wants to portray our reality in the fable of a VR video game movie.
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Whaley, Ben. "Who Will Play Terebi Gēmu When No Japanese Children Remain?" Games and Culture 13, no. 1 (September 24, 2015): 92–114. http://dx.doi.org/10.1177/1555412015606533.
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This article examines the Japanese action puzzle game Catherine, arguing that the game presents a social narrative that comments on Japan’s pressing issue of a declining birthrate and aging population. It also theorizes a strategy for player involvement based on “distanced” (self-reflexive and meta) engagement. Through an examination of the narrative, characters, and gameplay, supplemented with national fertility survey data from Japan, the article argues that Catherine subverts classic game tropes and fosters player engagement with a socially relevant diegesis. Simultaneously, the unique meta-gameplay elements utilize what I term “distanced engagement” to encourage the player to critically self-reflect on both the game scenario and their role as a player. In this way, the article considers how the unique relationship between story and distanced engagement allows video games like Catherine to function as impactful and interactive social narratives.
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Galanina, Ekaterina V., and Elena O. Samoylova. "“GAME-RELATED PHENOMENA” AS MODERN MYTHMAKING." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 5–19. http://dx.doi.org/10.17223/22220836/40/1.
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The relevance of the subject “game-related phenomena” is associated with the increasing importance of new cultural phenomena in modern culture (cosplay, let’s play, video blogging, fan art, fan fiction), which nonetheless rarely become the subject of cultural and philosophical reflection. We suggest exploring “game-related phenomena” from the standpoint of modern mythmaking. The concept of “game-related phenomena” is proposed to denote a number of sociocultural phenomena related to video games, but which are not their immediate part (cosplay, let’s play, fan fiction, fan art, e-sports, etc.). The object of this research are cosplay and let’s play. The purpose of the article is to analyze these cultural practices as forms of modern mythmaking manifestation. It should be noted that there are very few works devoted to the study of “game-related phenomena” through the perspective of modern mythological consciousness. Cosplay is a specific practice of creating and wearing a costume that allows fans reconstruct the image of a fictional character in popular culture. In this work we highlighted the main approaches to the study of cosplay: cosplay as (1) a way of constructing an identity; (2) a form of escapism; (3) a mass culture phenomenon; (4) a subculture. We have also presented a critical reflection on a number of existing approaches. Let’s play is a video created by users in the process of walking through a particular video game, combining gameplay and commenting it. Main results of the research. Firstly, we have proven the imaginative nature of cosplay. A cosplayer is an active participant in the creative reality transformation and myth construction. A cosplayer appropriates cultural texts and images, creatively processes them, creating one’s own myth on their basis, which attracts the audience. Secondly, we have revealed mythological identification of a reality image and reality itself, as well as the work of the mystical participation. Mythological images created by a cosplayer are thought of as quite real, one can quite feasibly interact with them. The image depicted by a cosplayer is at the same time the original, which introduces him/her and the audience to something larger, for example, to the fictional world, to the fandom, etc. Mythological images and meanings constructed in the framework of cosplay have a sacred meaning. Thirdly, we have shown the interconnections of cosplay with archaic mysteries, carnival performances, medieval theatrical performances that transmitted the sacred into the real world. The cosplay phenomenon itself, in our opinion, is rooted in archaic ritualized practices within which the mythological narrative attained its being. However, unlike archaic mysteries, cosplay is more eclectic and kaleidoscopic in terms of constructing images with different semantic and symbolic content. Fourthly, we can interpret the let’s play as online storytelling. Like a myth narrator, a let’s player narrates on one’s own behalf, constructing one’s own story not based on the original source. Let’s play from the standpoint of studying forms of modern mythmaking appears before us as a space of imagination, creativity, and playing with the original source. A let’s player makes secondary marking of video game elements, building on new meanings and meanings based on them, which allows you give new meanings to original narratives. So, we have come to the conclusion that such “game-related phenomena” such as cosplay and let’s play can be considered as forms of modern mythmaking.
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Fawcett, Christina, and Steven Kohm. "Carceral violence at the intersection of madness and crime in Batman: Arkham Asylum and Batman: Arkham City." Crime, Media, Culture: An International Journal 16, no. 2 (August 6, 2019): 265–85. http://dx.doi.org/10.1177/1741659019865298.
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The action-adventure video games Batman: Arkham Asylum (2009) and Batman: Arkham City (2011) draw on familiar comic book narratives, themes and characters to situate players in a world of participatory violence, crime and madness. In the first game, the player-as-Batman is situated in Arkham Asylum, a high-security facility for the criminally insane and supervillains that also temporarily houses a general population of prisoners from Blackgate Penitentiary. The elision of criminality and mental illness becomes amplified in the second game with the establishment of Arkham City, a combined facility that conflates asylum and prison, completely dissolving any distinction between crime and madness. We draw on Rafter’s conceptual framework of popular criminology to seriously interrogate the representation of violence, crime and madness in these games. More than simply texts offering popular explanations for crime, the games directly implicate the player in violence enacted upon the bodies of criminals and patients alike. Violence is necessary to move the action of the game forward and evokes a range of emotional responses from players who draw from personal experience and other cultural and media representations as they navigate the game. We argue that while the game celebrates violence and the brutal conditions of incarceration, it also offers possibilities for subversive and critical readings. While working to affirm assumptions about crime and mental illness, the game also provides a visceral and visual critique of excessive punishment by the state as a source of injustice for those deemed mad or bad.
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CARREIRO, MARCELO. "Jogando o Passado: Videogames como Fontes Históricas * Playing the past: video games as historical sources." História e Cultura 2, no. 2 (December 30, 2013): 157. http://dx.doi.org/10.18223/hiscult.v2i2.878.
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<p><strong>Resumo:</strong> A historiografia contemporânea vem se utilizando, de forma cada vez mais segura, das novas mídias mistas como uma rica fonte histórica – é o caso do cinema e dos quadrinhos. Contudo, essa abertura metodológica a fontes não-textuais ganha nova dimensão com a consolidação da indústria de videogames como uma mídia audiovisual interativa, com elementos das mídias anteriores, mas resultando num caráter próprio. A recente maturidade da mídia, seu alcance demográfico e de mercado, assim como sua condição de arte de massa, colocam os videogames como fonte indispensável para a historiografia do tempo presente.</p><p><strong>Palavras-chave:</strong> Videogame – Fontes – Metodologia – História do tempo presente.</p><p> </p><p><strong>Abstract:</strong> Contemporary historiography has been using, in an increasingly confident way, new mixed media as a rich historical source – such is the case concerning movies and comics. However, this methodological opening to nontextual sources gains a new dimension with the setting of the video game industry as an interactive audiovisual medium, containing elements of previous media but resulting in a distinctive character. The recent maturity of this medium, its demographics and market reach – as well as its character of mass art – makes video games an indispensable source for the historiography of the present time.</p><p><strong>Keywords:</strong> Video game – Historical sources – Methodology – History of the Present Time.</p><strong></strong>
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Hofman-Kohlmeyer, Magdalena. "CREATING AND MODIFYING THE GAME CONTENT BY PLAYERS AS AN ACT OF PROSUMERISM." Zeszyty Naukowe Wyższej Szkoły Humanitas Zarządzanie 21, no. 1 (March 31, 2020): 145–62. http://dx.doi.org/10.5604/01.3001.0014.1243.
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Prosumption can be described as an involvement of customers in the process of production. Customers obtain certain benefits related to increasing the degree of customization of the product or service. On the other hand, prosumption minimizes the costs associated with the purchase and/or use of products by consumers by undertaking of certain activities traditionally performed by the company. The primary aim of this paper is to investigate the phenomenon of creating and modifying computer game content by players as an act of prosumerism. Player used a game as primary materials to create some game elements or even producing a completely new one. They make unpaid work on game modification, called by its practitioners as “game modding”. Game modding is a process of changing, adding or removing game code that alters the way the game is played. This process includes many different actions, such as creating characters, houses and gardens in The Sims, changing the appearance of the residents, creating virtual buildings and landscapes in Second Life. Players build their own virtual environment. Creators gather in modding communities in which they sharing created content, advice each other’s, cooperate with other creators. Cooperation facilitates some platforms like Steam, various online forums or video sharing sites like Youtube. Besides players, also companies can take advantages from users’ creativity. They obtain information’s about consumer preferences which can be used e.g. in advertising or future product design. The modding community is a valuable source of innovation and recruitment for the game industry. Game modds can expand period of time when the game is played and consecutively receive high sales revenue. Presented approach is based on literature review.
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Saunders, Rebecca. "Computer-generated pornography and convergence: Animation and algorithms as new digital desire." Convergence: The International Journal of Research into New Media Technologies 25, no. 2 (March 6, 2019): 241–59. http://dx.doi.org/10.1177/1354856519833591.
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This article is one of the first to consider the digital phenomenon of computer-generated imagery (CGI) pornography, a highly significant site of convergence that combines the technologies, cultures and aesthetics of digital animation, video games and pornographic film. As much of this controversial new content is produced through the hacking of licensed video game franchises, CGI pornography typifies the democratic possibilities of the digital economy. However, this bizarre digital subculture exemplifies too the tension between ludic and labour-intensive digital practises: its production is embedded simultaneously in the anti-productive play of gaming, hacking and pornography, and in the intensive, neo-liberal labour practises associated with free labour and the video game industry. This article explores CGI porn as a specific site of convergence that fundamentally alters the aesthetics and function of digital pornography and relatedly the libidinal subject that is interpolated in this crucial aspect of digital culture. The filmic genre of pornography has a long tradition of producing affective engagement through vicarious access to the material body; its evocations of veracious materiality and presence are only amplified in a digital culture of virtuality and dematerialization. This article analyses how the technological construction of CGI porn is foregrounded in its images and films, highlighting the codes and patterns of the genre and blending them with a stark revelation of the restrictions and capabilities of CGI technology. The article explores how multiple instances of hypermediacy and hypersignification in CGI porn expose and affectively engage with the fact of convergence itself: that is, revealing technological capacities and limitations of digital animation and eroticizing its interpenetration with the films’ diegeses, aesthetics and representations of movement become the central function of this new cultural output. The libidinal focus of this type of digital pornography fundamentally shifts, then, away from the human body and the attempt to gain vicarious imagistic access to it through digital technologies. Instead, the labour of the animator, and the coding and characters they borrow from video game designs, become the libidinal focus of computer-generated pornography. As this new digital phenomenon uncovers and eroticizes the workings of CGI, so it dismantles the veracity and materiality promised by ‘real body’ digital pornography: CGI porn’s stark foregrounding of its technological constructedness clarifies the artificiality of its ‘real body’ counterpart. This article posits, then, an important new site of convergence. Pornography is a central node in the culture, politics and economics of digital technology, and the ways in which its convergence with CGI practises and video game culture has produced not just an entirely new digital phenomenon, but has fundamentally altered digital pornography's conception of the desirous subject and the material body, are crucial.
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Near, Christopher E. "Selling Gender: Associations of Box Art Representation of Female Characters With Sales for Teen- and Mature-rated Video Games." Sex Roles 68, no. 3-4 (October 26, 2012): 252–69. http://dx.doi.org/10.1007/s11199-012-0231-6.
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de Miranda, Luis. "Life Is Strange and “Games Are Made”: A Philosophical Interpretation of a Multiple-Choice Existential Simulator With Copilot Sartre." Games and Culture 13, no. 8 (November 23, 2016): 825–42. http://dx.doi.org/10.1177/1555412016678713.
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The multiple-choice video game Life is Strange was described by its French developers as a metaphor for the inner conflicts experienced by a teenager in trying to become an adult. In psychological work with adolescents, there is a stark similarity between what they experience and some concepts of existentialist philosophy. Sartre’s script for the movie Les Jeux Sont Faits (literally “games are made”) uses the same narrative strategy as Life is Strange—the capacity for the main characters to travel back in time to change their own existence—in order to stimulate philosophical, ethical, and political thinking and also to effectively simulate existential “limit situations.” This article is a dialogue between Sartre’s views and Life is Strange in order to examine to what extent questions such as what is freedom? what is choice? what is autonomy and responsibility? can be interpreted anew in hybrid digital–human—“anthrobotic”—environments.
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Yuwono, Ardian Indro, Gabriel Roosmargo Lono Lastoro Simatupang, and Aprinus Salam. "The Unconscious Self in Role Playing Video Game’s Avatar." Jurnal Ilmu Komunikasi 16, no. 2 (May 1, 2019): 115. http://dx.doi.org/10.31315/jik.v16i2.2687.
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In the world of digital video games, human players are present through surrogates. Surrogates in the video game is a character which also called by the term avatar which is a self-representation of real players. The presence of avatars in role playing games are formed through a process of creation by the gamer. The production of avatars cannot be separated from the unconscious mind of the players, the unconscious desire, ego and ideology. This avatar creation process continues ongoing, following the progress of the video game story. The decision, the path, and the act that the player take in completing the story are gradually reshaping the avatar. In the end, the avatar eventually became a manifestation and reflection of the unconscious minds of the video game players. This research conducted using ethnography and Jacques Lacan psychoanalysis theory.
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Pramaggiore, Maria, and Páraic Kerrigan. "Queer media temporalities." Alphaville: Journal of Film and Screen Media, no. 16 (January 30, 2019): 1–8. http://dx.doi.org/10.33178/alpha.16.00.
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This special issue of Alphaville: Journal of Film and Screen Media on “Queer Media Temporalities” draws upon this theoretical tradition and its rich set of concepts to explore queer temporalities that emerge within or may be generated by our engagement with time-based screen media. In its focus on specific media forms, it joins work by Kate Thomas and Jodi Taylor, who explore the intersections between queer time and the formal parameters that govern the time-based genres of poetry and music. Our questions here relate to both resistances and transformations enabled by the encounter of queer with (old and new) media temporalities. We are interested in the way games, television, video and experimental film enable or demand a queer renegotiation of time. Our contributors examine the role that archival temporalities play in the representation of queer lives in history and the imaginative landscapes of games. They consider whether reproductive futurism can help us to think about the queer life cycle of a television series and its characters. How does queer childhood, or “growing up sideways” (Stockton) resonate with film form for filmmakers invested in a nonreproductive queer genealogy? What is the relationship between media obsolescence and the “queer art of failure” (Halberstam, Art)?
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Black, Daniel. "Why Can I See My Avatar? Embodied Visual Engagement in the Third-Person Video Game." Games and Culture 12, no. 2 (May 22, 2016): 179–99. http://dx.doi.org/10.1177/1555412015589175.
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This essay seeks to answer two questions raised by the success of video games where the player looks at the character she is playing rather than seeming to inhabit the same coordinates as the character within the game space. First, why is the experience of playing these games not innately inferior to that of playing games with a first-person point of view, given that the sense of being a character sensing and acting inside the game space could be expected to be much stronger when the character’s body seems to be one’s own rather than a separate entity in the game space? And second, if the first-person point of view is so “immersive” and provides such a sense of being “inside” the representational space as is sometimes claimed, why has it never been so prominent in other audiovisual entertainment media such as film and television?
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Plothe, Theo. "Bearded Dragons at Play." Exchanges: The Interdisciplinary Research Journal 7, no. 3 (June 24, 2020): 1–13. http://dx.doi.org/10.31273/eirj.v7i3.523.
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Animals have long appeared as the subjects and characters in digital games, but game studies scholars have rarely considered animals as players of digital games. This paper examines the mobile digital game Ant Smasher and YouTube videos of bearded dragons playing the game. This article advocates for the inclusion of these bearded dragons in gamerspace as not only a personification of the gamer within the space but as a conduit for play, a channel for gamers to breach the boundaries of gamerspace – the cultural and discursive space surrounding digital games that negotiates the relationship between the digital game and its impact on the world at large. Through an analysis of 50 YouTube videos representing these play experiences, this article considers the place of these videos within gamerspace. The implications of this work serve to better understand the relationships between digital gaming, play, and human and non-human actors in interaction with haptic media. This example also expands upon our understandings of play as a whole.
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Wardani, Winny Gunarti Widya, Syahid Syahid, and Taufiq Akbar. "PEMBINGKAIAN RUANG VISUAL DALAM DESAIN VIDEO MUSIK ANIMASI SABDA ALAM SEBAGAI SENI MENYAMPAIKAN PESAN KAMPANYE." Gorga : Jurnal Seni Rupa 11, no. 2 (December 19, 2022): 402. http://dx.doi.org/10.24114/gr.v11i2.39919.
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Animated music video is an audio-visual media design that is presented in an illustrative narrative with song accompaniment. This spectacle has become a model for campaign media design that has appeal, like the animated music video “Sabda Alam” by students of SMK Raden Umar Said Kudus, which won appreciation at the 2021 Balinale International Film Festival. “Sabda Alam” tells the story of the lives of birds endemic typical of Indonesia which is increasingly rare. This media campaign indirectly supports the Ministry of Environment's program to socialize the importance of protecting the rich diversity of wild birds in Indonesia. This spectacle is interesting to study because it conveys a message by relying on the power of images in visual space. This research aims to show the relationship of visual elements in visual space as meaningful entities. The research method is descriptive qualitative with data collection techniques in the form of literature studies, observations, and interviews. While the data analysis technique uses image composition analysis into the rule of three imaginary grids, both vertically and horizontally. The results show that "Sabda Alam" prioritizes visual spatial framing, middle framing and full framing to convey messages about threats to protected wild birds. This research is expected to be a reference for knowledge about the function of images in the framing of visual space that is able to provide information and education, as an art of conveying campaign messages in entertaining and attention-grabbing ways. Keywords: visual space, music video, animation. AbstrakVideo musik animasi merupakan bentuk desain media audio visual yang mempresentasikan materi informasi melalui narasi ilustratif dengan iringan lagu. Tontonan ini dapat menjadi model desain media kampanye yang memiliki daya tarik, sebagaimana video musik animasi berjudul “Sabda Alam” karya para siswa SMK Raden Umar Said Kudus, yang telah berhasil memperoleh apresiasi di Balinale International Film Festival 2021. Sabda Alam berkisah tentang kehidupan burung-burung endemik khas Indonesia yang semakin langka. Video musik animasi ini secara tidak langsung ikut mendukung program Kementrian Lingkungan Hidup untuk mensosialisasikan pentingnya perlindungan terhadap keragaman burung liar sebagai kekayaan fauna di Indonesia. Tontonan ini menarik untuk dikaji karena menyampaikan pesan dengan mengandalkan kekuatan gambar pada ruang visual. Penelitian ini bertujuan menunjukkan relasi unsur-unsur visual di dalam ruang visual sebagai entitas bermakna. Metode penelitian secara kualitatif deskriptif dengan teknik pengumpulan data berupa studi literatur, observasi, dan wawancara. Sedangkan teknik analisis data menggunakan analisis komposisi gambar ke dalam aturan per tiga grid imajiner, baik secara vertikal maupun horizontal. Hasil penelitian menunjukkan, video musik animasi “Sabda Alam” mengutamakan pembingkaian ruang visual pada framing tengah dan framing penuh untuk menyampaikan pesan tentang ancaman terhadap burung-burung liar yang dilindungi. Penelitian ini diharapkan menjadi referensi pengetahuan tentang fungsi gambar di dalam pembingkaian ruang visual yang mampu memberikan informasi dan edukasi, sebagai seni menyampaikan pesan kampanye dengan cara-cara menghibur dan menarik perhatian.Kata Kunci: ruang visual, video musik, animasi. Authors:Winny Gunarti Widya Wardani : Universitas Indraprasta PGRISyahid : Universitas Indraprasta PGRITaufiq Akbar : Universitas Indraprasta PGRI References:Ali, M. M., & Ali, M. A. (2018). Karakterisasi Tokoh Dalam Film Salah Bodi. Gorga: Jurnal Seni Rupa, 7(1), 15-30.Aminah, S. (2019). Pengembangan Video Animasi Sebagai Media Pembelajaran Untuk Meningkatkan Kosa Kata Pada Anak Usia 4-5 Tahun. Skripsi. Universitas Negeri Islam Raden Intan, Lampung.Block, B. (2013). The Visual Story, Creating The Visual Structure of Film, TV, and Digital Media. Massachusetts: Focal Press.Deva, S. (2022). Analisis Konflik Tokoh Dalam Film Kukira Kau Rumah Karya Sutradara Umay Shahab. Diploma Thesis. IKIP PGRI: Pontianak.Fitria, R., Nazar, E., Nelmira, W., & Sahara, N. (2019). Pengembangan Video Pembelajaran Teknik Menjahit Busana pada Mata Kuliah Busana Dasar di IKK FPP UNP. Gorga: Jurnal Seni Rupa, 8(1), 19-29.WW, W. G., Piliang, Y. A., & Syarief, A. (2013). Wacana Visual Talk Show ‘ Mata Najwa’: Melihat Bahasa Tubuh Partisipan sebagai Kekuatan Visual. Panggung, 23(4).Halawa, W. E., Triyanto, R., Budiwiwaramulja, D., & Azis, A. C. K. (2020). Analisis Gambar Ilustrasi Hombo Batu Nias Gunungsitoli. Gorga: Jurnal Seni Rupa, 9(1), 193-203.Hermawan, S. (2022). “Gaya Ilustrasi Dalam Karakter Visual Video Musik Animasi Sabda Alam”. Hasil Wawancara Pribadi: 5 Agustus 2022, SMK RUS, Kudus.Homan, D. K. (2014). Eksplorasi Visual Diri Dalam Desain Karakter. Humaniora, 5(2), 729-736. https://media.neliti.com/media/publications/167255-ID-eksplorasi-visual-diri-dalam-desain-kara.pdf.Natadjaja, L. (2006). ANALISIS SUDUT PANDANG KAMERA (Studi kasus: Film Jelangkung dan Film The Ring 1). Nirmana, 7(2).Pradesta, E., & Aryanto, H. (2020). Gaya Semirealis Sebagai Inspirasi Perancangan Character Concept Art Game Fantasi Berbasis Legenda Nusantara. BARIK, 1(3), 167-177.Pratama, D., Wardani, W. G. W., Sidhartani, S. (2018). Building Natural and Cultural Tourism Entities Through Visual Space of Television Shows: Analysis of “My Trip My Adventure”, WESTECH 2018. https://doi.org/10.4108/eai.8-12-2018.2283861.Rizali, M., Warhat, Z., & Zebua, E. (2019). Pengaruh Elemen-Elemen Desain Komunikasi VISUAL (DKV) Box Art Game terhadap Story Line Berdasarkan Persepsi Gamers pada Video Game Populer di Indonesia. Gorga: Jurnal Seni Rupa, 8(2), 295-302. https://doi.org/10.24114/gr.v8i2.14700.Saputro, M. R. D. (2019). Perancangan Video Musik Animasi 2D Pada Lagu Negeri Syam yang Berjudul 5 Dalam 1. Skripsi. Institut Seni Indonesia, Yogyakarta.Schirato, T. dan Webb, J. (2004). Reading the Visual. Crows-Nest: Alen & Unwin.Venus, A. (2019). Manajemen kampanye, panduan teoretis dan praktis dalam mengefektifkan kampanye komunikasi publik. Edisi Revisi, Bandung: Simbiosa Rekatama Media.Wirandi, R., & BP, M. M. (2019). Fungsi MusikDalam Upacara Perayaan Ritual Thaipusam Etnis Hindu Tamil di Banda Aceh. Gorga: Jurnal Seni Rupa, 10(2), 415-422. https://doi.org/10.24114/gr.v10i2.28379.Witabora, J. (2012). Peran dan Perkembangan Ilustrasi. Humaniora, 3(2), 659-667. https://doi.org/10.21512/humaniora.v3i2.3410.Yasa, G. P. P. A. (2022). Estetika Animasi: Konsep dan Gaya Animasi Bul. Viswa Design, 2(1), 60-67. https://media.neliti.com/media/publications/546982-none-695d1ef3.pdf.
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Ferguson, Christopher J., and Stephanie M. Rueda. "The Hitman Study." European Psychologist 15, no. 2 (January 1, 2010): 99–108. http://dx.doi.org/10.1027/1016-9040/a000010.
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This article explores commonly discussed theories of violent video game effects: the social learning, mood management, and catharsis hypotheses. An experimental study was carried out to examine violent video game effects. In this study, 103 young adults were given a frustration task and then randomized to play no game, a nonviolent game, a violent game with good versus evil theme (i.e., playing as a good character taking on evil), or a violent game in which they played as a “bad guy.” Results indicated that randomized video game play had no effect on aggressive behavior; real-life violent video game-playing history, however, was predictive of decreased hostile feelings and decreased depression following the frustration task. Results do not support a link between violent video games and aggressive behavior, but do suggest that violent games reduce depression and hostile feelings in players through mood management.
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Hernandez, Carlos, and Jorge Baier. "Fast Subgoaling for Pathfinding via Real-Time Search." Proceedings of the International Conference on Automated Planning and Scheduling 21 (March 22, 2011): 327–30. http://dx.doi.org/10.1609/icaps.v21i1.13488.
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Real-time heuristic search is a standard approach to pathfind- ing when agents are required to make decisions in a bounded, very short period of time. An assumption usually made in the development and evaluation of real-time algorithms is that the environment is unknown. Nevertheless, in many interesting applications such as pathfinding for automnomous characters in video games, the environment is known in advance. Recent real-time search algorithms such as D LRTA* and kNN LRTA* exploit knowledge about the environment while pathfinding under real-time constraints. Key to those algorithms is the computation of subgoals in a preprocessing step. Subgoals are subsequently used in the online planning phase to obtain high-quality solutions. Preprocessing in those algorithms, however, requires significant computation. In this paper we propose a novel preprocessing algorithm that generates subgoals using a series of backward search episodes carried out from potential goals. The result of a single backward search episode is a tree of subgoals that we then use while planning online. We show the advantages of our approach over state-of-the-art algorithms by carrying out experiments on standard real-time search benchmarks.
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Song, Bing, Meng Li, and Liping Lou. "Pose Estimation under Visual Sensing Technology and Its Application in Art Design." Journal of Sensors 2021 (November 22, 2021): 1–14. http://dx.doi.org/10.1155/2021/2255730.
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The study is aimed at solving the problem of large measurement errors caused by the binocular camera in traditional 3D art design, which leads to inaccurate 3D information of the target. The contour information extraction in the process of human motion pose reconstruction is easily affected by the noise in the image. Therefore, a binocular stereo vision system is built first and it integrates image acquisition, camera calibration, and image processing. The dedistortion method is used to process the image because it can reduce errors. Second, a three-dimensional human motion pose reconstruction model is implemented, the Gaussian template is used to remove the noise in the image frame, and the change detection template (CDM) is used to solve the problem of background “exposure” and “occlusion.” Finally, simulation experiments are designed to verify the system and model designed. Since the research on the application of pose estimation based on visual sensing technology in art design is still blank, such research has great significance and provides a reference for the research in the field. The literature analysis is used to expound and analyze the application of pose estimation based on visual sensing technology in visual communication design and environmental art design: (1) although the binocular stereo vision system causes some errors in the measurement, the overall error is controlled within 2% and the accuracy is high, which proves that it can be applied to the acquisition of three-dimensional information of the target in art design; (2) there is a high degree of fitting between the video sequence data created by the three-dimensional human motion pose reconstruction model designed and the real motion data, which indicates that this method has high accuracy in processing image sequences and the feasibility of applying it to human pose reconstruction in three-dimensional art design is high; (3) through the analysis of the existing literature, it is found that most of the current visual-based attitude assessment studies are carried out by using network cameras combined with computers, and the quality of the obtained images is low. The combination of binocular stereo sensor and attitude estimation technology can be applied to the design of advertising, animation, games, and packaging, making the behavior of virtual characters in animation and games more vivid. The combination provides convenience for the collection of environmental spatial information and object attitude information, the formulation of a design scheme, and real-time monitoring of construction in environmental art design. The purpose of this study is to provide an important theoretical basis for the technical upgrading of art design.
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Ensslin, Astrid, and Tejasvi Goorimoorthee. "TransmediatingBildung: Video Games as Life Formation Narratives." Games and Culture 15, no. 4 (August 30, 2018): 372–93. http://dx.doi.org/10.1177/1555412018796948.
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This article examines the transmedial theme and narrative genre of Bildung (life formation) in relation to video games. It revisits key tenets of life formation theory insofar as they can be applied to a small but growing corpus of games that emphasize spiritual and philosophical maturation and advancement. We argue that Joseph Campbell’s monomyth is an oversimplified and ultimately unsuitable lens through which to analyze character development in games, which restrains rather than stimulates the kind of complexities, diversity, and fluidity of character psychology needed in contemporary video game ecology. The main part of this study is dedicated to a comparative analysis of three indie games that address the life formation theme through allegories of space-in-time. The main focal areas will be character and story patterns; chronotopic mappings onto developmental trajectories; the treatment of mastery, mentorship, and choice; and the spiritual and metacognitive alignment of extra and intradiegetic education.
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Shedko, I. I. "Video Game Art Styles." Art & Culture Studies, no. 4 (December 2021): 382–95. http://dx.doi.org/10.51678/2226-0072-2021-4-382-395.
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The article examines the graphic styles that have arisen in the video game industry due to the technical features and development of this media. These styles are widely used and starting to go beyond the industry into the field of contemporary art. Despite the fact that pixel art is mainly used in the creation of video games, it has already become an independent form of visual style. Contemporary artists such as the Russian digital artist and designer under the pseudonym Uno Morales and the artist Natalya Struchkova turn to the pixel style when creating their works. Like the pixel art, voxel graphics has moved into the category of the game visual style, which employs an impressive community of digital artists. Low рoly graphics have modified from the main graphics of three-dimensional games, which look technically imperfect, into the category of an artistic style that forms a recognizable, attractive and unique geometric aesthetics of the image. We can trace the transformation of video game graphics, which have arisen as a result of technical constraints, into separate art styles: pixel art, voxel art, low рoly style, the minimalist style of the first classic video games. These styles are gradually becoming an independent visual unit that does not depend on the video game product as a whole.
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Melki, Henry. "Stage-directing the Virtual Reality Experience: Developing a Theoretical Framework for Immersive Literacy." International Journal of Film and Media Arts 6, no. 2 (December 17, 2021): 129–47. http://dx.doi.org/10.24140/ijfma.v6.n2.08.
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Despite the incremental improvement and inclusion of immersive technologies in entertainment, training simulation, fine art, inclusive design, academia, and education; Virtual Reality (VR) still faces issues regarding its ability to compete with films and animation in visual storytelling without merging into the realm of video games. In 2015, Pixar’s Ed Catmull warned moviemakers that Virtual Reality is “not storytelling” and argued that the linear aspect of narratives poses an obstacle that cannot be overcome with VR. In contrast, Catmull argued that VR has immense application in games. However, VR creators have been pushing the boundaries and possibilities of delivering narratives in virtual spaces. In 2019, the VR experience “Gloomy Eyes” was presented at the Sundance festivals featuring a 30-minute story split between 3 episodes. The simulation is structured to provide its audience with some degrees of freedom while guiding them intuitively through the virtual space. In 2021, Blue Zoo also released a VR project titled “The Beast” featuring a cyclist powering up a snow-covered mountain. The short film was entirely created in Quill VR with the intention of being treated like a theatrical play rather than a film. While the creators of “The Beast” have explicitly mentioned the influence of theatre, “Gloomy Eyes” draws its visual language from similar theatrical roots. This paper argues that VR has been mistakenly compared to film and animation when it should be associated with theatre. The audience of both are not passive as they are during the screening of a film or animation. The space and the medium demands participation through their presence in the same space with the actors/characters. Theatre presents a promising candidate for extracting criteria that could be used to develop a visual language for VR. This research aims to formulate a framework for developing a VR visual language through comparison between character-driven narratives in VR such as “Gloomy Eyes” and “The Beast”. The comparative study establishes overlapping criteria and characteristics found in the structure, literacy, sound, and delivery format of narratives in a theatrical performance. These criteria are then outlined and discussed, drawing from affordance theory and discussions on aural and visual attention in theatre, to form a holistic view in approaching VR literacy.
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González Torres, Javier. "El villano es hoy el héroe. Apuntes iconográficos sobre el protagonismo del mal en los medios audiovisuales actuales / Villains are heroes today: iconographic notes on the prominence of evil in current media." Revista Internacional de Cultura Visual 4, no. 2 (December 12, 2017): 63–74. http://dx.doi.org/10.37467/gka-revvisual.v4.1546.
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RESUMENEn la diegética narrativa del cine, las series televisivas o los videojuegos, asistimos en la actualidad a una masiva difusión de imágenes impactantes, acciones violentas y violaciones de paradigmáticos parámetros. Las más variadas personificaciones del mal son las protagonistas, desarrollando un extraordinario potencial para alimentar su poderoso ego, envolviendo su presencia en concretas iconografías que lo convierten en nuevo héroe. Al hilo de un elenco de conocidas producciones, pretendemos desentrañar algunos apuntes iconográficos sobre estos personajes. Sus caracterizaciones, funciones y acciones quedarán contrastadas con las influencias, constantes y contaminaciones existentes en la formulación de su imagen icónica y en el fundamento de su ‘propia lucha’. Una aproximación en la que interaccionan la historia del arte, la antropología y la sociología.ABSTRACTIt only takes a quick glance at movies, television series or video games to realize that we are being fed a massive dissemination of shocking images, violent acts and violations of classic standards. A plethora of representations of evil have become the protagonists by taking advantage of certain iconographies that make them look like heroes, thus developing an extraordinary potential for feeding their powerful egos. Our purpose is to highlight some of these archetypal features by considering a range of renowned productions. We intend to match the profles, functions and deeds of these characters to their infuences, the patterns they follow and the corruption lying behind their recognizable appearances, as well as the reasons for their personal crusades. In order to do this, we will be using the history of art, anthropology and sociology as main tools.
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Permadi, Benny Angga. "Pengaruh Kecintaan Siswa Pada Al-Qur’an Terhadap Perilaku Sosial di Sekolah Dasar Al Islam Plus Kabupaten Sidoarjo." Attadrib: Jurnal Pendidikan Guru Madrasah Ibtidaiyah 4, no. 1 (May 22, 2021): 35–38. http://dx.doi.org/10.54069/attadrib.v4i1.128.
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Students nowadays are reluctant to go to the mosque to learn Quran. Their characters are influenced by technology such as television, the internet, and video game which then make parents and teachers worried and anxious if they will act negatively. This thesis uses research design of mixed-method with the objective to complete the image of research result about the phenomenon and to strengthen the analysis. The research strategy is done by combining the data from observation, interviews, and questionnaires in order to get qualitative and quantitative data. The data analysis is continuous qualitative-quantitative analysis, it is done by analyzing qualitative data and followed by analyzing the data through quantitative one. The hypothesis testing is done by using simple linear regression analysis with SPSS 18 program.
The result of qualitative data is the students’ affection on Quran in Islamic Elementary School through Quran memorizing a program. Students’ social behavior is positive, whether toward friends and teachers in school. The result of quantitative data shows that students affection on Quran is 44% categorized as high, 40% as fair, and 16% as low. Students’ social behaviour shows that 74% as high, 10% as fair and 16% as low. The hypothesis testing uses t-test and the result of tcount is 6.356 with the significance of 0.026. The tcount ? ttable (6.356 ? 2.010) or sig. t ? 5% (0.026 ? 0.05), it can be concluded that the variable of students’ affection on Quran has significant influence toward the variable of students’ social behaviour. The students’ social behavior is influenced by 55% of a variable of students’ affection on Quran while 45% is influenced by other variables outside this research
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Nyman, Elizabeth, and Ryan Lee Teten. "Lost and Found and Lost Again." Games and Culture 13, no. 4 (November 20, 2015): 370–84. http://dx.doi.org/10.1177/1555412015616510.
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The popularity of video games is at an all-time high among today’s population. Game designers and producers spend years on plot and character development, the creation of appropriate settings, and providing the player with a ludic experience that is both enriching and perplexing. This article looks at the creation of virtual utopian societies as the basis for contemporary video games. Just as the world today sees many conflicts over island rights, island sovereignties, and, sometimes, the creation of artificial islands that seek to escape governance of existing countries, video games have embraced the creation of a separate society for settings that explore new or extreme forms of individual, societal, and political development. Examining the BioShock series, this article looks at how video games and their designers have used utopic theories of society to create new experiences, potentialities, and ethical dilemmas for the players.
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K., Anupama, and G. K. Chithra. "Of Castration Anxiety and Hypersexualized Female Bodies: A Critical Assessment of the Objectifying Gaze in Batman: Arkham Video Game Series." Theory and Practice in Language Studies 12, no. 9 (September 1, 2022): 1921–29. http://dx.doi.org/10.17507/tpls.1209.26.
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This article builds upon Laura Mulvey’s idea of the Male Gaze to conduct a feminist reading of the video game series Batman: Arkham (2009-2015). It does so by using Bechdel Test to analyze the depiction of the major female characters appearing in the series. The article investigates why portrayal of the women characters in video games is always problematic and how Batman: Arkham franchise becomes yet another transmedia text that fails in showing its female characters accurately. The textual analysis of the games confirms that the video game industry protects and perpetuates male privilege through the hypersexualization and objectification of female characters. As a result, the study further identifies a noticeable lack of compelling female characters in the video game series. Thus, the investigation calls for the necessity of a neutral and unbiased counter gaze for the legitimate portrayal of the women characters in the video game narratives as well as proper gender representation in the fast-growing game industry.
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Le Hy, Ronan, Anthony Arrigoni, Pierre Bessière, and Olivier Lebeltel. "Teaching Bayesian behaviours to video game characters." Robotics and Autonomous Systems 47, no. 2-3 (June 2004): 177–85. http://dx.doi.org/10.1016/j.robot.2004.03.012.
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VASILYEV, A. V. "Design in video game concept art." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 1-2 (2022): 128–43. http://dx.doi.org/10.37485/1997-4663_2022_1_2_128_143.
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Niu, Gengfeng, Siyu Jin, Fang Xu, Shanyan Lin, Zongkui Zhou, and Claudio Longobardi. "Relational Victimization and Video Game Addiction among Female College Students during COVID-19 Pandemic: The Roles of Social Anxiety and Parasocial Relationship." International Journal of Environmental Research and Public Health 19, no. 24 (December 16, 2022): 16909. http://dx.doi.org/10.3390/ijerph192416909.
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Video game addiction, a common behavioral problem among college students, has been more prominent during the COVID-19 pandemic; at the same time, females’ video game usage has also attracted considerable research attention. Against this background and under the perspective of social interaction, this study aimed to examine the relationship between relational victimization and video game addiction among female college students, as well as its underlying mechanism—the mediating roles of social anxiety and parasocial relationships with virtual characters. Female college students (N = 437) were recruited to complete a set of questionnaires voluntarily in June 2022. Through the mediating effect analysis, the results found that (1) relational victimization was positively associated with female college students’ video game addiction; (2) social anxiety and parasocial relationships with virtual characters could independently mediate this relation; (3) social anxiety and parasocial relationships with virtual characters were also the serial mediators in this association. These findings not only expand previous studies by revealing the social motivation of video game usage and the underlying mechanism accounting for video game addiction, but also provide basis and guidance for the prevention and intervention of video game addiction in the current context of the COVID-19 pandemic.
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Waszkiewicz, Agata. "Non-Normative Gender Performances Fat Video Game Characters." Acta Universitatis Sapientiae, Film and Media Studies 20, no. 1 (November 1, 2021): 165–80. http://dx.doi.org/10.2478/ausfm-2021-0020.
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Abstract While video games unquestionably became more diverse and inclusive in the past decade, there is still a striking underrepresentation of characters whose bodies do not conform to the heterosexist concept of normativity, including those perceived as fat. My article begins with the introduction of fat studies as the interdisciplinary field concerned with the ways media construct fat people as unattractive, undesirable, and asexual. Next, it discusses how these prejudices are reflected in a medium in which fat has been historically coded as villainous and monstrous. The last part includes two case studies of positive fat representation: Ellie from the mainstream game Borderlands 2 (Gearbox Software 2012) and the eponymous character from the independent title Felix the Reaper (Kong Orange 2019). Their gender performances are coded equally as non-normative.
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Kleinsmith, Andrea, and Marco Gillies. "Customizing by doing for responsive video game characters." International Journal of Human-Computer Studies 71, no. 7-8 (July 2013): 775–84. http://dx.doi.org/10.1016/j.ijhcs.2013.03.005.
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Mitchell, Liam. "Damsels Who Distress." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (September 1, 2020): 63–93. http://dx.doi.org/10.1215/02705346-8359518.
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Female figures routinely appear in popular fiction as ostensibly critical correctives to masculinity who can inadvertently retrench problematic divisions between “Woman” and “Man.” In video games, these figures are often aural rather than visual; whether they are off-screen narrators, nonplayer characters, framing devices, or divinities, players regularly hear voices without seeing their source. While many games leave voices off-screen for reasons of technical and economic constraint, developers may restrict voices in this manner for other reasons as well—or at least with other consequences. The voice is a particularly potent site for the production of sexual difference, and the restriction of the female voice to relatively narrow protocols can result in the reduction of female characters to mere agential functions. This article offers brief critical readings of the acousmatic female voice in five recent games—BioShock (2007), Gone Home (2013), The Stanley Parable (2013), The Talos Principle (2014), and Firewatch (2016)—that illustrate the complicated connections between gender, games, technology, and the political. It then turns to the work of Super-giant Games, a small developer responsible for four critical and popular successes. Rather than reducing women’s voices to agential player functions, Supergiant’s first two games, Bastion (2011) and Transistor (2014), pose these voices as an affirmation of the characters’ agency. Moreover, because of the distressing character of this affirmation for certain players, Supergiant at first represses these characters’ speech. Although they are rendered voiceless, they are anything but powerless.
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Vargas-Iglesias, Juan J. "Making Sense of Genre: The Logic of Video Game Genre Organization." Games and Culture 15, no. 2 (February 7, 2018): 158–78. http://dx.doi.org/10.1177/1555412017751803.
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Despite the importance that the dimension of genre holds in media studies, its very definition in the field of video games is still a matter without consensus. This study intends to outline the logic that lies within the constitution of videoludic genres, understanding them as formal devices configured as per the different thought functions stated by Piaget’s cognitive psychology theory. This project will propose a formalist approach from a cybersemiotic perspective. It seeks to establish a cardinal set of relations to understand the compatibilities and incompatibilities traceable in the syntactic functional order of the different video game genres. Furthermore, a corpus of 43 genres is used to prove the solidity of this theoretical approach, oriented to establish foundations for a praxis of the human–machine ludic relation in fields such as game design and media studies, with the performative character of function as a guiding principle.
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Durusoy, Murat. "In-Game Photography: Creating New Realities through Video Game Photography." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 42–47. http://dx.doi.org/10.47659/m4.042.art.
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Computers and photography has had a long and complicated relationship throughout the years. As image processing and manipulating capabilities advanced on the computer front, photography re-birthed itself with digital cameras and digital imaging techniques. Development of interconnected social sharing networks like Instagram and Twitter feeds the photographers’/users’ thirst to show off their momentaneous “been there/seen that – capture the moment/share the moment” instincts. One other unlikely front emerged as an image processing power of the consumer electronics improved is “video game worlds” in which telematic travellers may shoot photographs in constructed fantasy worlds as if travelling in real life. While life-like graphics manufactured by the computers raise questions about authenticity and truthfulness of the image, the possible future of the photography as socially efficient visual knowledge is in constant flux. This article aims to reflect on today’s trends in in-game photography and tries to foresee how this emerging genre and its constructed realities will transpose the old with the new photographic data in the post-truth condition fostering for re-evaluation of photography truth-value. Keywords: digital image, lens-based, photography, screenshot, video games
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Miller, Monica K., and Alicia Summers. "Gender Differences in Video Game Characters’ Roles, Appearances, and Attire as Portrayed in Video Game Magazines." Sex Roles 57, no. 9-10 (September 18, 2007): 733–42. http://dx.doi.org/10.1007/s11199-007-9307-0.
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Burgess, Jacqueline, and Christian Jones. "The Female Video Game Player-character Persona and Emotional Attachment." Persona Studies 6, no. 2 (March 16, 2021): 7–21. http://dx.doi.org/10.21153/psj2020vol6no2art963.
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This research, using online qualitative survey questions, explored how players of the PlayStation 4 console game, Horizon Zero Dawn, formed emotional attachments to characters while playing as, and assuming the persona of the female player-character, Aloy. It was found that the respondents (approximately 71% male) formed emotional attachments to the female player-character (PC) and non-player characters. Players found the characters to be realistic and well developed and they also found engaging with the storyworld via the female PC a profound experience. This research advances knowledge about video games in general and video game character attachment specifically, as well as the emerging but under-researched areas of Persona Studies and Game Studies.
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Cox, Ashley D., Cassie A. Eno, and Rosanna E. Guadagno. "Beauty in the Background." International Journal of Interactive Communication Systems and Technologies 2, no. 2 (July 2012): 49–62. http://dx.doi.org/10.4018/ijicst.2012070104.
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This content analysis examined the representation of females in top selling console video games. Based on prior content analyses, the study hypothesized that female characters would be more likely to appear in supporting roles and would be represented as suggestively dressed with sexualized portions of their bodies exposed. It was predicted that female characters would be less likely to engage in violence relative to male characters. The results of the analysis of 538 characters from 48 interactive video game systems supported these predictions and suggest that video games portray stereotypic depictions of women consistent with traditional gender roles. The implications of these findings are presented in the context of social learning theory. Furthermore, the unique features of video game play that may heighten their socializing impact are discussed.
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Dietrich, David R. "Avatars of Whiteness: Racial Expression in Video Game Characters." Sociological Inquiry 83, no. 1 (January 16, 2013): 82–105. http://dx.doi.org/10.1111/soin.12001.
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Breves, Priska. "Reducing Outgroup Bias through Intergroup Contact with Non-Playable Video Game Characters in VR." PRESENCE: Virtual and Augmented Reality 27, no. 3 (July 2020): 257–73. http://dx.doi.org/10.1162/pres_a_00330.
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Video games are one of the most popular media forms in today's society, but are often criticized for various reasons. For instance, mainstream video games do not incorporate enough racially diverse game characters or are often connected to adolescents’ levels of aggression and have thus been the focus of many debates. While the negative consequences of video games have been analyzed by many academic studies, research on the prosocial effects of video games is scarce. To address this research gap and support the ongoing call for more diverse video game characters, this study used a 3 × 1 between-subjects design ( N = 86) to test the impact of racially diverse non-playable characters (NPCs). The parasocial contact hypothesis was used as the theoretical foundation, incorporating virtual reality technology as an intensifier of effects. The results showed that helping a Black NPC did not reduce implicit bias, but reduced explicit bias towards Black people. This improvement was stronger when the video game was played using virtual reality technology than when using a traditional two-dimensional gaming device.