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Journal articles on the topic 'Video game characters'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Kou, Yue. "An Analysis of Character Design in Video Games." Communications in Humanities Research 14, no. 1 (2023): 186–91. http://dx.doi.org/10.54254/2753-7064/14/20230455.

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Video games are a very common entertainment activity in life, and with the advancement of technology, they have become available on all kinds of electronic devices. Every year, countless console, online, and mobile games are released to great acclaim in the gamer community, and many games that have been released for many years are still regarded as masterpieces by their enthusiasts. The success of a game and its appeal to gamers depend in large part on the quality of the games CG art. Game CG art often includes scenes, props, characters, creatures, buildings, and other types of art, and excell

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Burgess, Jacqueline, and Christian Jones. "The Female Video Game Player-character Persona and Emotional Attachment." Persona Studies 6, no. 2 (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

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Josslyn Amelie and Elda Franzia Jasjfi. "ANALISIS VISUAL SPLASH ART KARAKTER LUX PADA GAME “LEAGUE OF LEGENDS”." Jurnal Dimensi DKV: Seni Rupa dan Desain 8, no. 2 (2023): 223–38. http://dx.doi.org/10.25105/jdd.v8i2.18398.

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The Visual Analysis of Lux Character’s Splash Art on the Game of “League of Legends”. Splash art is a definition that is mostly used in most video games to show the visualization of a playable character in the game. Besides splash art having interesting illustrations, splash art often shows the character's lore to the players, so the player is interested and manifested to play the character or to use the skin on the character. The use of composition is one of the biggest factors that affect the choice to tell the character’s story within its splash art. One of the video games that have splash

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Brahmana, Ariel Marsha Luana, and Banung Grahita. "Analyzing the Adaptation of Ramayana Wayang Characters in Code Atma Video Game." Ultimart: Jurnal Komunikasi Visual 16, no. 1 (2023): 114–24. http://dx.doi.org/10.31937/ultimart.v16i1.3230.

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Promotion of Wayang is important for future generations to continue cherish the value, meaning and pure passion just like how it is intended to be. As a traditional culture surviving the modern era, a modern adaptation is one of the many ways to promote towards the younger generations alongside other modern pastimes. The game “Code Atma” developed by Agate in 2020 has attracted the younger generation due to its appealing character design, that is a modern rendition to what is familiar, traditional culture. To ensure focus of the research, the chosen Code Atma characters would be the ones from

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Ergen, İsmail. "Generating video game characters using StyleGAN2." JOURNAL OF AWARENESS 8, no. 1 (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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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 res

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Bykhanova, Maria A. "MEDIATIZATION METHODS OF FOLKLORE CHARACTERS IN VIDEO GAMES. THE CASE OF “YAGA” GAME." Folklore: structure, typology, semiotics 6, no. 2 (2023): 97–111. http://dx.doi.org/10.28995/2658-5294-2023-6-2-97-111.

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The article is devoted to the mediatization of mythological characters of Slavic folklore by means of an example of the video game “Yaga”, created by Breadcrumbs Interactive studio in 2019. The mediatization of folklore allows us to see how traditional ideas are transformed when they get into the media environment and how folklore is “translated” into the language of the media. In this case, a computer game is considered as a text consisting of various (visual, verbal, etc.) signs. The author undertook structuralsemiotic analysis of the character system of video games that is used both in folk

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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 (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 thro

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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 (2004): 177–85. http://dx.doi.org/10.1016/j.robot.2004.03.012.

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Desai, Neesha, and Duane Szafron. "Enhancing the Believability of Character Behaviors Using Non-Verbal Cues." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 1 (2021): 130–35. http://dx.doi.org/10.1609/aiide.v8i1.12514.

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Characters are vital to large video game worlds as they bring a sense of life to the world. However, background characters are known to rarely exhibit any sign of motivated behavior or emotional state. We want to change this by assigning these characters emotions that can be identified through their non-verbal behavior. We feel the addition of emotion will allow players to feel more connected to the game world and make the game world more believable. This paper presents the results of an experiment to test two ways of conveying emotion: 1) through a character's gait and 2) through a character'

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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 (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 re

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Waszkiewicz, Agata. "Non-Normative Gender Performances Fat Video Game Characters." Acta Universitatis Sapientiae, Film and Media Studies 20, no. 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

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Xie, Yuchen. "Performance of NeRF and its optimized models on generating images from 2D to 3D of animation or game character." Applied and Computational Engineering 6, no. 1 (2023): 910–18. http://dx.doi.org/10.54254/2755-2721/6/20230957.

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Neural Radiance Fields (NeRF) has recently emerged as a promising approach for single-image 3D scene reconstruction. Despite this, most studies on NeRF have focused on real-world data or items with established camera projection connections, rather than snapshots of video game characters that may not have a distinct camera projection connection. Although some research has been conducted on the use of animatable mannequins, the majority of these studies have used photographs of real people as their data source. To date, there has been limited research into the use of NeRF for animation or game c

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Burgess, Jacqueline, and Christian M. Jones. "“Is It Too Much to Ask That We’re Allowed to Win the Game?”: Character Attachment and Agency in the Mass Effect 3 Ending Controversy." Bulletin of Science, Technology & Society 37, no. 3 (2017): 146–58. http://dx.doi.org/10.1177/0270467618819685.

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The interaction between the concepts of character attachment, agency, and choice in a video game narrative was investigated using BioWare’s Mass Effect trilogy. Posts on a BioWare forum discussing the depiction of their player characters in the ending sequences of Mass Effect 3, the final game in the trilogy, were downloaded and analyzed using thematic analysis. Players demonstrated emotional attachment for the characters and narrative and expected to see the consequences of their choices play out, as in the previous games. Furthermore, players conflated winning the game with achieving a narra

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Chen, Zeyuan, and Josh McCoy. "Augmenting Character Path Planning with Layered Social Influences." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 15, no. 1 (2019): 123–29. http://dx.doi.org/10.1609/aiide.v15i1.5234.

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Creating behavior for believable characters is one of the main challenges within video games and is a key component in providing immersive experiences. As games become more complex, developers turn to AI techniques to generate believable character behaviors to enhance a player’s gameplay experience. Traditionally, path planning allows characters to navigate game worlds in a responsive way but has run-time efficiency and path distance as its primary goals. However, this tradition can be broken to make path planning another channel for generating believable characters. This paper describes a sys

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Budiman, Arief, and Ardy Aprilian Anwar. "KONSTRUKSI IKON, INDEK, DAN SIMBOL DALAM MEMBANGUN VISUALISASI KARAKTER VIDEO GAME HARVEST MOON BACK TO NATURE." Jurnal Bahasa Rupa 4, no. 1 (2020): 1–9. http://dx.doi.org/10.31598/bahasarupa.v4i1.566.

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The presence of character visualization becomes part of the aesthetic value in video games, with its presence making events in the video game become interwoven and have a narrative flow. In the end it creates a fantasy as well as the occurrence of increasing emotion in playing video games, where players are expected to feel an understanding of indigo - value. Seeing the magnitude of the role of the presence of character visualization in video games. Then through the study of reading visual signs, it is done as a means to find out the sign construction on character visualization in the Harvest

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Lull, Robert B., Bryan Gibson, Carlos Cruz, and Brad J. Bushman. "Killing characters in video games kills memory for in-game ads." Psychology of Popular Media Culture 7, no. 1 (2018): 87–97. http://dx.doi.org/10.1037/ppm0000108.

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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 (2013): 775–84. http://dx.doi.org/10.1016/j.ijhcs.2013.03.005.

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Jiang, Zixuan. "Emotional Simulation in Game AI and Its Impact on Player Experience." International Journal of Education and Humanities 13, no. 2 (2024): 11–13. http://dx.doi.org/10.54097/pbhsqy34.

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In modern video games, the role of artificial intelligence (AI) cannot be overlooked. Game AI is not only responsible for the internal logic and character behavior within games but also serves as a crucial tool meticulously crafted by game designers to enhance the gaming experience. The objective of AI extends beyond simply achieving the highest efficiency or optimal decision-making; it aims to provide players with an engaging and challenging experience. To this end, emotional simulation has emerged as a popular research direction in the field of game AI. Emotional simulation enables virtual c

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Zakharova, Dina V., and Lyudmila M. Bondareva. "Semantic Peculiarities of Quasi-Anthroponyms in the Texts of English-Language Fantasy Video Games." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 1 (March 1, 2024): 47–55. http://dx.doi.org/10.37482/2687-1505-v320.

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The article presents an analysis of the semantic parameters of quasi-anthroponyms utilized in English-language accompanying texts for fantasy computer games. As a first step, we developed an approach to clarify the term quasi-anthroponym, which had been subject to various interpretations in scholarly publications. Quasi-anthroponyms are defined here as names of animated fictional objects that function as characters within the virtual worlds of video games. Taking into account the correlation between real and fictional elements, fantasy characters are categorized based on the degree of their fi

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Jatmiko, Rahmawan. "Fictional Characters’ Heroism in Assassin’s Creed III Video Game in the Perception of Indonesian Video Gamers." NOBEL: Journal of Literature and Language Teaching 8, no. 1 (2017): 35–48. http://dx.doi.org/10.15642/nobel.2017.8.1.35-48.

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Assassin’s Creed is a historical fiction video game developed and published by Ubisoft. This video game has been so far considered as one of the most violent video games. Assassin’s Creed III is the third sequel of which plot is set in a fictional history of real world events and follows the centuries-old conflict between the Assassins and the Templars. Based on this study, the plot, characters, characterization, and scenes in Assassin’s Creed III are deemed to be able to give positive teachings to the young generation, despite the fact that there are violent and sadistic scenes in the story.

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Jennings, Amanda Brooke, and Madeline Messer. "Paying to play: an economic experiment examining children’s avatar preferences and their willingness to pay for them." Young Consumers 20, no. 3 (2019): 219–35. http://dx.doi.org/10.1108/yc-12-2018-0910.

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Purpose The purpose of this study is a formal experimental economics test of results found in a study designed and executed by a 12-year-old who was concerned about what she perceived to be bias in gaming applications (apps) that provided male avatar characters for no cost but required in-app purchases to access female characters. The present study was designed to test empirically whether children have a revealed preference for same-gendered characters and whether such preferences are dependent on the cost of the characters. Design/methodology/approach Children from 6 to 16 years of age were r

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Burdka, Łukasz, and Paweł Rohleder. "Applied inverse kinematics for bipedal characters moving on the diverse terrain." Machine Graphics and Vision 26, no. 1/4 (2017): 3–11. http://dx.doi.org/10.22630/mgv.2017.26.1.1.

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A solution to the problem of adjusting the pose of an animated video game character to the diverse terrain and surroundings is proposed. It is an important task in every modern video game where there is a~focus on animated characters. Not addressing this issue leads to major visual glitches such as legs hovering above the ground surface, or penetrating the obstacles while moving. As presented in this work, the described problem can be effectively solved by examining the surroundings in real-time and applying Inverse Kinematics (IK) as a~procedural post process to the currently used animation.

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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 (2007): 733–42. http://dx.doi.org/10.1007/s11199-007-9307-0.

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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 (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

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England, Maureen. "Dickens's Afterlife: Character and Cultural Memory." Victoriographies 10, no. 3 (2020): 311–31. http://dx.doi.org/10.3366/vic.2020.0397.

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As a post-mortem of Dickens, this paper will examine Dickensian afterlives in modern multimedia representations of Dickens and his characters. I will consider these representations and modern popular culture's representational balance between the writer and his works. The three recent examples of Dickens and his characters in different media – small screen, video game, and cinema – that will be discussed are: the 2015 BBC series Dickensian; the ‘Darwin and Dickens Conspiracy’ additional downloadable content (DLC) of the 2015 video game Assassin's Creed: Syndicate; and the 2017 film The Man Who

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Maharditya, I. G. N. Adhimas. "Representation of Gender-Based Violence Words in Genshin Impact." Humanitatis : Journal of Language and Literature 9, no. 2 (2023): 389–96. http://dx.doi.org/10.30812/humanitatis.v9i2.2797.

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This paper aims to examine a representation of gender-based violence words inside video games. This study focused on processing textual data inside video games, where Genshin Impact’s in-game textual data is the chosen object of research. In previous research regarding modern media, gender male was always related to violence words more than female. Uncovering the result from the comparison of violence words used Genshin between males and females is the main goal of this study. Genshin was chosen because of the dominant number of female characters (33) compared to male characters (17), which pi

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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 (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 betwee

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Dietrich, David R. "Avatars of Whiteness: Racial Expression in Video Game Characters." Sociological Inquiry 83, no. 1 (2013): 82–105. http://dx.doi.org/10.1111/soin.12001.

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Blass, Joseph, and Ian Horswill. "Implementing Injunctive Social Norms Using Defeasible Reasoning." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 11, no. 4 (2021): 75–81. http://dx.doi.org/10.1609/aiide.v11i4.12826.

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Believability requires video game characters to consider their actions within the context of social norms. Social norms involve a broad range of behavioral defaults, obligations, and injunctions unrelated to strictly causal reasoning. Defeasible reasoning involves rationally compelling but deductively invalid arguments, such as reasoning with rules that allow exceptions. This paper investigates having video game characters use defeasible reasoning to consider injunctive social norms when selecting and planning actions.

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Mihu, Catrina-Claudia. "Translating Identities: How Cultural Choices Shape Character Perception in Genshin Impact." East-West Cultural Passage 23, no. 2 (2023): 80–94. http://dx.doi.org/10.2478/ewcp-2023-0014.

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Abstract This article undertakes a comparative analysis of the English and Chinese voice-lines of specific characters in Genshin Impact – a well-known open world role-playing video game developed by Mihoyo Technology – and examines the cultural implications that might have led to varied translations. By closely scrutinizing linguistic adaptations and cultural nuances, the study aims to shed light on how these differences in translation significantly influence the perception of characters among their respective audiences globally. The research delves into the complex choices made by translators

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Anindya, Natasha Talitha, and Lastiko Endi Rahmantyo. "(DE)HUMANIZATION OF PHYSICALLY DISABLED BODIES IN BORDERLANDS 3." Paradigma: Jurnal Kajian Budaya 13, no. 3 (2023): 429–47. http://dx.doi.org/10.17510/paradigma.v13i3.1038.

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The video game industry has played a role in both affirming and erasing stereotypes surrounding minorities, especially those with disabilities. This study aims to analyse Borderlands 3’s in-game narrative that represents physically disabled characters through their characterization, visualization, and individual character development in the main plot campaign, illustrating how positive representation helps fight common stigmas and negative stereotypes. By using Shakespeare’s social model of disability as a theoretical framework, the analysis will view the game as text to identify physically di

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Burgess, Melinda C. R., Steven Paul Stermer, and Stephen R. Burgess. "Sex, Lies, and Video Games: The Portrayal of Male and Female Characters on Video Game Covers." Sex Roles 57, no. 5-6 (2007): 419–33. http://dx.doi.org/10.1007/s11199-007-9250-0.

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Luo, Lan. "The Evolution of Female Character Representations in Video Games from a Feminism Perspective." Lecture Notes in Education Psychology and Public Media 30, no. 1 (2023): 131–36. http://dx.doi.org/10.54254/2753-7048/30/20231605.

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As a form of artistic cultural product, video games exert a subtle yet profound influence on societal culture and value systems. In an era where video games have become an integral component of popular culture and entertainment, the depiction of female characters within these virtual realms not only reflects the individual perspectives of game designers, but also serves as a mirror to broader societal attitudes and inclusivity towards women. This paper conducts a comprehensive analysis of iconic games spanning different eras since the inception of video games in the public eye, adopting a femi

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Pranselga, Argia, Iwan Rizal Setiawan, and Winda Apriandari. "Implementasi Finite State Machine Pada Karakter NPC Musuh Dalam Game Adventure In Java." Jutisi : Jurnal Ilmiah Teknik Informatika dan Sistem Informasi 10, no. 3 (2021): 391. http://dx.doi.org/10.35889/jutisi.v10i3.707.

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<p>Abstrak. Dalam industri game terdapat banyak inovasi yang dapat di implementasikan pada sebuah game, salah satu diantaranya adalah mengimplementasikan kecerdasan buatan pada karakter Non Playable Character (NPC) agar game lebih hidup dan tidak membosankan saat dimainkan. Game bergenre Role Playing Games (RPG) adalah salah satu Game yang dapat mengimplemetasi-kan kecerdasan buatan, dimana player mengontrol penuh aksi dari karakter di dalam sebuah dunia viksi dalam video game. Kecerdasan buatan yang dikembangkan dalam game ini yaitu mengimplementasikan Finite State Machine yang akan dig

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Rennick, Stephanie, and Seán Roberts. "The Video Game Dialogue Corpus." Corpora 19, no. 1 (2024): 93–106. http://dx.doi.org/10.3366/cor.2024.0299.

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This paper presents the Video Game Dialogue Corpus, the first large-scale, consistently coded, open source corpus of dialogue from video games. It contains over 6.2 million words of English dialogue from fifty games in the Role Playing Game (rpg) genre. This includes games produced between 1985 and 2020, rated for children, teenagers and adults, and in both ‘Western’ and ‘Japanese’ sub-genres. The corpus design is described, including custom data formats for representing branching dialogue. We demonstrate the use of the corpus by comparing the dialogue of female and male characters, where we f

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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 (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

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Cannizzo, Alejandro, and Esmitt Ramírez. "Towards Procedural Map and Character Generation for the MOBA Game Genre." Ingeniería y Ciencia 11, no. 22 (2015): 95–119. http://dx.doi.org/10.17230/ingciencia.11.22.5.

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In this paper, we present an approach to create assets using proceduralalgorithms in maps generation and dynamic adaptation of characters for a MOBA video game, preserving the balancing feature to players. Maps arecreated based on offering equal chances of winning or losing for both teams. Also, a character adaptation system is developed which allows changing the attributes of players in real-time according to their behaviour, always maintaining the game balanced. Our tests show the effectiveness of the proposed algorithms to establish the adequate values in a MOBA videogame.

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Smith, Jennifer. "Voices, Combat, and Music." Journal of Sound and Music in Games 2, no. 2 (2021): 42–62. http://dx.doi.org/10.1525/jsmg.2021.2.2.42.

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Role-playing video games can highlight a sense of player identification with a pre-made player-character through the inclusion of the voice; this can include diegetic character dialogue, the non-diegetic sung voice, and voice-overs. Ensuring that the player can connect with their player-character on an individual level is key to forming a suspension of disbelief and immersion with a game. Final Fantasy XV emphasizes collaboration between the player, player-characters, and non-playable characters during combat, cutscenes, and exploration. This camaraderie effect actively engages the player with

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Toksanbayeva, Aisha. "Game characters as a narrative tool: an analysis of the influence of visual design on the development of the storyline in the game." Рroblems of engineering and professional education 73, no. 2 (2024): 57–66. http://dx.doi.org/10.32523/2220-685x-2024-73-2-57-66.

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The article considers the relevance of presenting the visual design of game characters through the narrative activity of the game, the development of the storyline and close communication with players. Analysing current trends and technological advances, realistic and emotionally expressive character design shows how you deepen your connection with the player. Explores the growing importance of inclusivity and cultural representation in character design, working to explore the appeal of game narrative and the impact on the marketing sphere. Using examples of popular game cases, the power of br

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López-Arcos, J. R., N. Padilla-Zea, P. Paderewski, and F. L. Gutiérrez. "Designing Stories for Educational Video Games." International Journal of Web-Based Learning and Teaching Technologies 12, no. 4 (2017): 1–13. http://dx.doi.org/10.4018/ijwltt.2017100101.

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The use of video games as an educational tool initially causes a higher degree of motivation in students. However, the inclusion of educational activities throughout the game can cause this initial interest to be lost. A good way to maintain motivation is to use a good story that is used as guiding thread with which to contextualize the other video game elements (characters, scenarios, challenges, scores, etc.). A method is necessary for analyzing the effectiveness of the story in a video game. The authors propose an analysis method that includes user-centered techniques. This method has been

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Beattie, Scott. "Fatness and Fable: Regulating the Interactive Body in Video Games." Somatechnics 1, no. 2 (2011): 357–71. http://dx.doi.org/10.3366/soma.2011.0024.

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The video game Fable 2 promises new modes of interaction, by which decisions made by the player can shape the game world and the body of their virtual persona. Some decisions affect the good/evil index by which the avatar takes on a diabolical or saintly aspect. Other decisions affect the character's purity/corruption index, which impacts on the relative thinness and upright posture or fatness and hunched posture and of the avatar. This moralisation of fatness, embedded in the ideological code of the game reflects a set of values about consumption, exploitation and the aesthetics of body. Thes

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Murray, Soraya. "“Raji's Burden”." CyberOrient 17, no. 1 (2023): 10–37. http://dx.doi.org/10.1002/cyo2.35.

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AbstractThis article uses a visual culture studies approach to examine how video games invoking non‐Western cultural specificities face heightened pressures to completely and “authentically” represent their cultures. Focusing on the independent Indian video game Raji: An Ancient Epic (Nodding Heads 2020) as a key example, I employ art historian Kobena Mercer's concept of the “burden of representation” to show how race, ethnicity, and gender intersect in this game. I argue that there is more at work here than a superficial re‐skinning of characters and game space to suit national tastes and aes

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Wilujeng, Panggio Restu, and Nurvita Wijayanti. "Religion Simulacrum in Open World Video Game." BELIEF: Sociology of Religion Journal 1, no. 2 (2023): 114. http://dx.doi.org/10.30983/belief.v1i2.7859.

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<em>Apart from being a medium for entertainment simulation, video games also provide a representation of the social world. Game industry developers always carry out research to provide socio-cultural, historical and philosophical system content to enrich the content in the game. The story background in video games aims to provide experiences and impressions for the players. This research aims to qualitatively explore forms of religious representation that are simulated in open world video games. So players can play role characters in the game to experience spirituality and religiosity. E

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Martins, Nicole, Dmitri C. Williams, Rabindra A. Ratan, and Kristen Harrison. "Virtual muscularity: A content analysis of male video game characters." Body Image 8, no. 1 (2011): 43–51. http://dx.doi.org/10.1016/j.bodyim.2010.10.002.

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Oktavanya, Ridanti, and Yasmine Anabel Panjaitan. "THE AMBIVALENCE OF LIFE IS STRANGE IN PORTRAYING ITS FEMALE CHARACTERS." International Journal of Humanity Studies (IJHS) 3, no. 1 (2019): 14–29. http://dx.doi.org/10.24071/ijhs.v3i1.2018.

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Nowadays, there has been a new trend in the video game industry to unleash the stereotypical female characters as a response to the increasing criticism toward gender equality in the video game industry. Life is Strange is one example of video games that challenges typical female characters who are usually described as powerless and objectified. However, such a progression has not amended the problematic female representation completely within its narrative. By using the concept of hegemonic masculinity, this paper discusses the ambivalences in Life is Strange in challenging stereotypical fema

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Stansbury, Jessica A., Geoffrey D. Munro, and David R. Earnest. "Morality in Gaming: Observer Perceptions of Player versus Character Actions." Journal of Psychological Perspective 6, no. 1 (2024): 63–72. http://dx.doi.org/10.47679/jopp.617702024.

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The debate on the impact of violent video games and its influence on players continues despite mixed findings. Using the lens of third person perception research, we explored moral judgments of laypersons, those often at the crux of these public debates. Study 1 investigated whether the player or character is perceived by an outside observer as responsible for moral decisions made within the narrative of a violent video game. Study 2 investigated how those perceptions may impact the observers’ perceptions of the player’s future negative behaviors and personality traits. Study 1 and 2 used a 2

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Yuwono, Ardian Indro. "PEREMPUAN DALAM VIDEO GIM : Representasi Perempuan Dalam Dead or Alive 6." Interaksi: Jurnal Ilmu Komunikasi 11, no. 1 (2022): 60–72. http://dx.doi.org/10.14710/interaksi.11.1.60-72.

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In media industry, women are often represented as an object which cannot be separated from their sexual attractiveness. This kind of female sexualization also presents in various video games, such as Dead or Alive 6. Through this study, researcher tries to understand how female characters are represented in Dead or Alive 6 using Roland Barthes’s semiotic analysis. As for the result, four picked characters, Kasumi, Honoka, Marie Rose, and Momiji represent signs of sexualization such as their fashion, innocence, legal character but looks like an underage, or a paradox between sacredness and tabo

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Robyananta Saputra, Bayu, and Rinawati Ciptaningrum. "Perancangan Game Kasual Pongo Tap Pixel Art 2D." Syntax Idea 5, no. 10 (2023): 1670–78. http://dx.doi.org/10.46799/syntax-idea.v5i10.2644.

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Interactive multimedia applications play a very important role as a medium for information, socialization and education. Video games as part of interactive digital applications have the opportunity to be an effective entertainment and learning medium, if designed appropriately. The casual game PongoTap can be used as a socialization medium to increase public awareness of the importance of preserving orangutan habitat. Information about orangutans in 2017, orangutans are included in the Red List of critically endangered (CR) animals whose population is estimated to continue to decline. Based on

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Schiffer, Sheldon. "How Actors Can Animate Game Characters: Integrating Performance Theory in the Emotion Model of a Game Character." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 15, no. 1 (2019): 227–29. http://dx.doi.org/10.1609/aiide.v15i1.5252.

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Despite the development of sophisticated emotion models, game character facial animation is still often completed with laborious hand-controlled key framing, only marginally assisted by automation. Behavior trees and animation state machines are used mostly to manage animation transitions of physical business, like walking or lifting objects. Attempts at automated facial animation rely on discrete facial iconic emotion poses, thus resulting in mechanical “acting”. The techniques of acting instructor and theorist Sanford Meisner reveal a process of role development whose character model resembl

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