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Journal articles on the topic 'Video game creation'
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1
Trepte, Sabine, and Leonard Reinecke. "Avatar Creation and Video Game Enjoyment." Journal of Media Psychology 22, no. 4 (2010): 171–84. http://dx.doi.org/10.1027/1864-1105/a000022.
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Based on the model of complex entertainment experiences ( Vorderer, Klimmt, & Ritterfeld, 2004 ), the competitiveness of a computer game (media prerequisite) and the individual life satisfaction (user prerequisite) are hypothesized to influence game enjoyment. Avatar-player similarity was hypothesized to determine identification with the avatar, which in turn was suggested to enhance the enjoyment experience. In a quasi-experimental study, (N = 666) participants were asked to choose the personality features of an avatar for six different game scenarios. The results demonstrate that the games’ competitiveness as well as the participants’ life satisfaction influenced avatar choice and identification. In noncompetitive games, similar avatars were created, whereas in competitive games, dissimilar avatars were created. Participants who were well satisfied with their lives created avatars that resemble themselves in terms of personality factors, whereas dissatisfied users created dissimilar avatars. Player-avatar similarity was positively related to identification. This correlation was significantly stronger for noncompetitive games. Identification with the avatar was strongly related to game enjoyment. When controlling for the influence of identification on enjoyment, player-avatar similarity was negatively related to enjoyment, suggesting that identity play can be an independent source of enjoyment in computer games.
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Shubin, Aleksey Vitalevich, Gulnara Faritovna Sahibgareeva, and Vlada Vladimirovna Kugurakova. "The Concept of Automatic Creation Tool for Computer Game Scenario Prototype." Russian Digital Libraries Journal 25, no. 5 (2022): 533–52. http://dx.doi.org/10.26907/1562-5419-2022-25-5-533-552.
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The experience of game studios shows that classical methodologies of software development are poorly implemented in video game development because of the interactive component of this area, related to the correct creation of feedback between the game and the user. In addition, video game development involves a large number of developers from different areas, whose activities must be coordinated in the project.
 Despite these differences, video games, like any other developed software, need a development team organization process. In this article we reviewed traditional software development methodologies, as well as modifications specializing specifically in video game development. The most popular methodologies were compared and the quality of their implementation in video game development studios was determined.
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Roth, Martin E. "At the Edge of a ‘Digital Area’ – Locating Small-Scale Game Creation." Asiascape: Digital Asia 2, no. 3 (2015): 183–212. http://dx.doi.org/10.1163/22142312-12340030.
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In this article, I develop a perspective on video game creation tools and related practices, and ask whether game creation can be a space of creative experimentation for scholars of the humanities. I argue that such questions cannot be directed at digital technologies or video game creation in general. Instead, a serious engagement with the tools and practices for creating digital space has to locate these tools and the space created with and around them within a broader context. If so, what are the building blocks and physics of game creation – what can be created and by whom? And how can they be studied and applied in, or repurposed for, the humanities? In its mixture of theoretical inquiry, empirical case study and programmatic sketch, this article is intended as a first step towards mapping game creation in its diversity and relations to other digital regions.
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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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Baimuratov, O. A. "DEVELOPMENT AND OPTIMAZATION OF VIDEO GAME MECHANICS IN UNITY 3D." Bulletin of the Korkyt Ata Kyzylorda University 59, no. 4 (2021): 204–10. http://dx.doi.org/10.52081/bkaku.2021.v59.i4.113.
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Creating video games requires complex processes. Depending on the genre and type of the game, it uses physical and mathematical laws. In solving some algorithmic problems, the question arises of optimizing the game. How to optimize the algorithms for its creation will be shown in the article on the example of the authors game "Togyzkumalak 3D". Before solving the problem, it was shown how to create video games, programs and methods used in them. The development of game mechanics in Unity 3D is described
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Werning, Stefan. "Disrupting video game distribution." Nordic Journal of Media Studies 1, no. 1 (2019): 103–24. http://dx.doi.org/10.2478/njms-2019-0007.
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AbstractThis article analyses the disruptive potential of Valve’s game distribution platform, Steam, focusing specifically on how Steam has evolved into a de facto online social network and how Valve uses constant feature changes as part of its corporate rhetoric. Despite its profound influence on the video game industry, scholarly inquiry into Steam has focused on analyses of user or value creation. However, Steam arguably derives its long-term disruptive potential from combining the gamification of digital distribution with the formation of ephemeral public spheres around the games that it distributes, thereby becoming a de facto online social network. To investigate this strategy, the article employs a historically comparative affordance analysis, drawing on a small data set of Steam blog posts and tech blog coverage from 2007 to 2018 to map patterns of affordance change.
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Reid, Darren. "Video Game Development as Public History." Public Historian 46, no. 1 (2024): 74–107. http://dx.doi.org/10.1525/tph.2024.46.1.74.
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Public historians have recently directed significant attention toward video games as a media form for engaging diverse audiences with participatory historical representations and arguments. Yet despite the availability of easy-to-use game creation tools, historians have been slow to adopt game development. I developed a video game, Ab Uno Sanguine, based on my PhD research to assess the practicality of game design as a venue for public history practice. This article reflects on my experiences in historical game development along the ADDIE (Analyze, Design, Develop, Implement, Evaluate) process of game production. This paper connects game studies, historical game studies, and digital public history scholarship to demonstrate how historians can become historian-developers to disseminate their research without a large budget or a professional game design team.
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Kabát, Marián. "Pár poznámok k terminológii a neologizmom v lokalizácii videohier." Nová filologická revue 14, no. 1 (2022): 28–40. http://dx.doi.org/10.24040/nfr.2022.14.1.28-40.
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The paper focuses on terminology and neologisms and their typology in video games. It defines video games as a specialized type of communication and then presents three different types of discourse that take place in the video game industry. This is done in order to show that video game terminology varies and goes beyond a video game per se (e.g., terminology from technology or pop culture). Then the paper presents a video game terminology typology that is based upon a video game corpus made up of Minecraft (a corpus of 42,058 words) and its analysis, but it demonstrates relevant terminology from other video games as well. The point of this analysis is to show that video game terminology is very fluid and video games are a field where new words enter and leave the lexicon quite frequently. Yet video game terminology should still be studied as such classifications can help during the creation of terminology databases.
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Catton, Anthony Michael. "Mere play or authorial creation? Assessing copyright and ownership of in-game player creations (Part 1)." Interactive Entertainment Law Review 2, no. 2 (2019): 57–66. http://dx.doi.org/10.4337/ielr.2019.02.01.
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This article, the first of two parts, assesses the questions of copyright and originality in player made ‘in-game creations’ – player creations which are made incidental to and specifically within the context of playing video games. The article suggests three classifications of in-game creations and respectively discusses the potential protection available under British copyright. It examines whether these creations are capable of satisfying the originality standard required for copyright and it further considers when and why in the case of flexible template games and blank template games in-game creations are capable if not in some cases likely to demonstrate sufficient originality for the purposes of copyright.
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Afi, Fouad El, and Smail Ouiddad. "Consumer engagement in value co-creation within virtual video game communities." Management & Marketing. Challenges for the Knowledge Society 16, no. 4 (2021): 370–86. http://dx.doi.org/10.2478/mmcks-2021-0022.
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Abstract With the emergence of the gaming industry as the most empowering form of entertainment, video game online communities have become a refuge for many users who are looking to fulfil specific needs, leading them to participate in creating their own experiences. Drawing upon the uses and gratifications theory, this research aims to understand the motivations behind consumer engagement in value co-creation within digital game distribution services (exp. Steam), and how it affects loyalty. To the extent of the author’s knowledge, little research has addressed this question within the gaming industry. We conducted an online survey administered to video game platforms users, through which 195 valid answers were collected. Findings suggest that hedonic along with personal and social motivations have positive influence on user’s engagement to co-create value, which in return increases their loyalty behavior.
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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 (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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Olivares-Rodríguez, Cristian, Paula Villagra, Rodolfo E. Mardones, Luis Cárcamo-Ulloa, and Nicolás Jaramillo. "Costa Resiliente: A Serious Game Co-Designed to Foster Resilience Thinking." Sustainability 14, no. 24 (2022): 16760. http://dx.doi.org/10.3390/su142416760.
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Resilience thinking is critical for improving disaster preparedness, response, and adaptation. While there are several strategies focused on assessing resilience capacity in human communities, there are few strategies focused on fostering resilience thinking. Game-based learning is an active and immersive teaching strategy that can foster complex skills such as resilience. However, this field needs further research in terms of its potential to strengthen community resilience to disasters. In this paper, we validated a serious game to foster community resilience. We present the collaborative creation process for the development of the board game Costa Resiliente, and its subsequent migration into a video game. We have developed an experimental study to evaluate the contributions of the mobile game against the board game. The result is a technological tool based on scientific knowledge to foster resilience thinking in coastal human communities exposed to hazards. The board game was developed using data from local research on community resilience, and from experts in emergency planning and developing games collected in focus groups. The board game’s effect on fostering resilience thinking was validated with school students from a coastal town. During the migration process into a video game, we used a design thinking methodological approach for the co-creation of audiovisual elements, in which beneficiaries participate actively and early. Through this approach, visual and auditory elements that are familiar to coastal communities were integrated into the video game elements. Our study indicates that game-based learning is a useful approach to foster resilience thinking, and that a better gaming experience can be provided by a video game. The potential of this video game for educating young age groups about community resilience is further discussed.
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Meier, Cecile, Jose Luis Saorín, Alejandro Bonnet de León, and Alberto Guerrero Cobos. "Using the Roblox Video Game Engine for Creating Virtual tours and Learning about the Sculptural Heritage." International Journal of Emerging Technologies in Learning (iJET) 15, no. 20 (2020): 268. http://dx.doi.org/10.3991/ijet.v15i20.16535.
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This paper describes an experience to incorporate the realization of virtual routes about the sculptural heritage of a city in the classroom by developing a simulation of the urban environment using a video game engine. Video game engines not only allow the creation of video games but also the creation and navigation of in-teractive three-dimensional worlds. For this research, Roblox Studio has been used, a simple and intuitive program in which no previous programming skills are required. During the 2018/2019 academic year, a pilot experience was carried out with 53 secondary school students who were given the task of designing a virtual environment in which they had to include 3D models of the sculptural her-itage of the city of Santa Cruz de Tenerife. Before starting the experience, the par-ticipants answered a questionnaire to obtain a previous idea of the students' knowledge about the creation of video games. Once the activity was finished and in order to evaluate the result of the activity, the participants answered a final questionnaire. The students emphasized that after the activity they are more aware of the sculptural heritage of Santa Cruz and that they consider themselves capable of creating their own interactive worlds with Roblox.
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Gidhagen, Mikael, Oscar Persson Ridell, and David Sörhammar. "The orchestrating firm: value creation in the video game industry." Managing Service Quality: An International Journal 21, no. 4 (2011): 392–409. http://dx.doi.org/10.1108/09604521111146261.
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Baltezarević, Borivoje, and Vesna Baltezarević. "Mythological narrative in video games as a form of media promotion of culture." Bastina, no. 59 (2023): 211–18. http://dx.doi.org/10.5937/bastina33-42476.
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With the advent of digital media, a new game platform has been created that moves from the real environment to the virtual space. The application of modern technology and the Internet led to the creation of platforms dedicated to video games and the appearance of virtual players. Considering that we cannot see the game only as entertainment, but also as a medium that leads to social gathering, the game is also recognized as a tool for the promotion of various social values. The narrative of the video game directs the players to simultaneously educate themselves through the game, improve themselves and, through interaction with other players, change their identity and adopt different cultural values. Narratives based on the mythology of a nation become a medium for "storytelling" and the promotion of national culture.
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STIE Indonesia Banking School, Fajrian Angelo, Santi Rimadias STIE Indonesia Banking School, and Bani Saad STIE Indonesia Banking School. "JUMPA Vol. 7 No. 1 Februari 2020 Peran Ewom Sebagai Pendorong Penciptaan Value Co-Creation Dan Implikasinya Pada Purchase Intention." Jurnal Manajemen dan Perbankan (JUMPA) 7, no. 1 (2020): 40–51. http://dx.doi.org/10.55963/jumpa.v7i1.391.
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Tujuan dari penelitian ini adalah untuk mengetahui peran Electronic Word of Mouth (EWOM) pada Value Co-Creation (VCC) dan implikasinya terhadap Niat Beli Game Red Dead Redemption 2. Data dikumpulkan dengan menggunakan kuesioner terstruktur dari 132 Pengguna Youtube yang menonton game Channel Rockstar dan membuka halaman video tentang game Red Dead Redemption 2. Data dianalisis melalui Structural Equation Modeling. Analisis dalam penelitian ini diuji menggunakan Structural Equation Modeling (SEM). Makalah ini menemukan bahwa EWOM berpengaruh signifikan terhadap Value Co-Creation pada Game Red Dead Redemption 2. Value Co-Creation berpengaruh signifikan terhadap Purchase Intension pada Game Red Dead Redemption 2. Sedangkan EWOM tidak mempengaruhi Purchase Intention pada Game Red Dead Redemption 2.
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Bontchev, Boyan, Desislava Paneva-Marinova, and Lubomil Draganov. "An Educational 3D Maze Game for Bulgarian Orthodox Iconography." Digital Presentation and Preservation of Cultural and Scientific Heritage 6 (September 30, 2016): 283–84. http://dx.doi.org/10.55630/dipp.2016.6.31.
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Thanks to their specific characteristics, educational video games make game-based learning more effective than traditional teaching approaches with regard of students’ motivation, engagement, and learning outcomes. This demonstrator presents an educational 3D maze video game introducing Bulgarian Orthodox iconography. The structure and learning content of the maze game are defined declaratively by applying several contemporary teaching methods and learning scenarios for Orthodox iconographic art study. Next, the game is generated by means of a special software platform for creation of customizable desktop video maze games for education. The demonstrator outlines both the game design and development processes and provides a tour through the generated educational maze rooms and tunnels. It shows how the game can be adapted according player’s achievements, emotions and performance.
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Schenk, Kevin, Adel Lari, Matthew Church, et al. "ScriptEase II: Platform Independent Story Creation Using High-Level Patterns." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 1 (2021): 170–76. http://dx.doi.org/10.1609/aiide.v9i1.12672.
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As the video game industry grows, both developers and creative authors seek new ways to simplify the process of controlling story content using scripts. This paper describes a story model and its software implementation, ScriptEase II, designed to solve this game design bottleneck. ScriptEase II is the second generation of the ScriptEase system, whose goal was to enable game authors with no programming ability to generate scripting code from high-level game patterns. ScriptEase II differs from the original in two important ways. First, ScriptEase II uses game-dependent translators to generate scripts for any game engine. Second, ScriptEase II uses a drag-and-drop interface that simplifies the story component creation menus that grew cumbersome in the original ScriptEase. The feasibility of code generation has been validated using three different game engines and the advantages of the simple drag-and-drop interface have been validated by a user study.
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Alsaif, Khalil, and Ahmed Abdullah. "Alsaif Dataset Creation and Evaluation for Gymnastics Movement." International Journal of Computers and Informatics 3, no. 6 (2024): 9–23. http://dx.doi.org/10.59992/ijci.2024.v3n6p1.
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Computer vision systems play a major role in many areas of life, as reliance has clearly begun on these systems in the medical field, where they help doctors diagnose diseases correctly. In addition, they are relied upon in the sports field, where they can help referees in giving correct arbitration decisions. The accuracy of computer vision systems has increased with the emergence of deep learning techniques, which require a large amount of data on which a deep learning model can be trained. Therefore, if any deep learning model is relied upon to detect and distinguish any movement or any entity within images or video clips, it must first Training this model on a set of images of these movements or objects to be discovered and distinguished. From this standpoint, this article presents the construction of a database for one of the important games, the gymnastics game, which is popular in many countries. A database has been built for the gymnastics game, which can be used in the application. Deep learning models were developed in order to help coaches and referees in this game, and for these movements there is no database available on the Internet. A group of video clips spread on the Internet was relied upon to build this base, where ten basic movements in the game of gymnastics were distinguished, and one of the models was evaluated. Deep learning on these images (yolo7).
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Maravić, Manojko. "Relacije umetnosti i video igara / Relations of Art and Video Games." AM Journal of Art and Media Studies, no. 1 (January 15, 2012): 93–104. http://dx.doi.org/10.25038/am.v0i1.12.
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When discussing the art of video games, three different contexts need to be considered: the 'high' art (video games and the art); commercial video games (video games as the art) and the fan art. Video games are a legitimate artistic medium subject to modifications and recontextualisations in the process of creating a specific experience of the player/user/audience and political action by referring to particular social problems. They represent a high technological medium that increases, with practically each new commercial game, the aesthetic potential of audio-visualperformances and includes more complex narrations and characters/avatars. A number of artists take part in their creation: designers, composers and actors. Video games are a medium through which the fans of commercial games are trying to secure their position in the contemporary technologised culture.
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Dapšys, Liudvikas. "A MODEL FOR THE CREATION OF SCRIPTED SEQUENCES FOR SERIOUS GAME APPLICATIONS." Mokslas - Lietuvos ateitis 15 (June 16, 2023): 1–7. http://dx.doi.org/10.3846/mla.2023.19145.
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This article presents a method for presenting information in an interactive application, using a method that video games use to create narrative – scripted sequences – while following the principles of instructional design. A model for creating such sequences is also presented, inspired by a similar model for adventure video games. Five adventure video games were analysed to create this model. The created application has several advantages over real-life presentations: 1) the user does not physically have to appear at the location of the presentation, 2) the user can stop and start the presentation at a convenient time, and 3) the application may be more engaging than a recording of a real-life presentation.
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Merino-Cajaraville, Alba, Salvador Reyes-de-Cózar, and Pablo Navazo-Ostúa. "SCHEMA: A Process for the Creation and Evaluation of Serious Games—A Systematic Review towards Sustainability." Sustainability 15, no. 16 (2023): 12351. http://dx.doi.org/10.3390/su151612351.
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The Internet and technology have flooded all the activities of our daily lives, making digitalisation a reality. Education is no stranger to this reality and is beginning to incorporate new learning methodologies in the classroom. Methodologies such as game-based learning are presented as appropriate solutions for digital generations, leading the video game industry to produce in a less controlled way. Therefore, this research aims to systematise the scientific production of serious games by studying methodological models and processes for both the creation and evaluation of educational video games and identifying common patterns and differential elements. To this end, a systematic literature review of existing models was carried out under the PRISMA protocol. An initial sample of 13,692 articles was used to arrive at the 15 studies included in this review, following the eligibility criteria of the PICO model. The results show that, although there is a certain unanimity in the methodologies of the different authors, aspects, such as the iteration of the process or the inclusion of teachers in the creation of the video game, must be sufficiently considered. This review led to the creation of SCHEMA, a methodological model for designing serious games that incorporates these deficiencies.
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Nebel, Steve, Sascha Schneider, Janine Schledjewski, and Günter Daniel Rey. "Goal-Setting in Educational Video Games." Simulation & Gaming 48, no. 1 (2016): 98–130. http://dx.doi.org/10.1177/1046878116680869.
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Background. The increased usage of educational video games with their strong graphical and technical potential raises the question of how to optimize the instructional elements of gameplay. In this article, the instructional goal was analyzed with the theoretical background of both motivational psychology (goal-setting theory) and cognitive psychology (goal-free effect). Aim. We compared different goal types within an educational video game specifically produced for this context, using MINECRAFT as a content creation tool. Method. Within a quantitative, empirical experiment, 87 students divided into three goal groups (specific learning goal, specific performance goal, goal-free condition) played the video game for nearly three hours per test session to gain knowledge about basic elements of computer science and basic electric engineering. Results. The results show effects of goal-setting on cognitive load and affective measures. Having specific learning goals lowered extraneous and intrinsic cognitive load. Additionally, players following a specific learning goal reported having significantly more fun, indicating the affective impacts of goal-setting. Conclusions. The outcomes of this study have practical implications for the creation of educational video games and theoretical implications for further work within the field of instructional psychology.
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FEHN, C., C. WEISSIG, I. FELDMANN, et al. "CREATION OF HIGH-RESOLUTION VIDEO PANORAMAS FOR SPORT EVENTS." International Journal of Semantic Computing 01, no. 02 (2007): 171–84. http://dx.doi.org/10.1142/s1793351x07000135.
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This paper describes an approach for creating high-resolution video panoramas of large-scale sport events. In an exemplary football scenario, we used two ARRIFLEX D-20 "film-style" digital cameras to capture both sides of the playing field as well as large parts of the stands. From the recorded left and right view images, we created a joint panoramic view with a resolution of 5016 × 1400 pel (5k) using sophisticated image processing algorithms. These highly immersive football panoramas were screened with our modular, high-resolution multi-projection system during the FIFA World Cup 2006 in a 600 seat CinemaxX movie theater in Berlin, providing the viewers with the feeling of actually watching the game from a good seat on the stands.
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Telang, Shree, Anirudh Patki, Anant Kale, Prathamesh Jadhav, and Gayatri Mujumdar. "Shooting Game Using Unreal Engine." International Journal for Research in Applied Science and Engineering Technology 11, no. 3 (2023): 398–403. http://dx.doi.org/10.22214/ijraset.2023.49425.
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Abstract: In the realm of software engineering, the gaming industry is experiencing rapid growth, with shooter games emerging as one of the most popular genres for independent video game developers. These games are characterized by their fast-paced action, requiring a combination of skills from players, including strategic thinking, hand-eye coordination, and quick reflexes. To develop such games, developers can choose from a range of game engines, including Unity3D, Unreal Engine, Game Maker, and Godot, each offering access to a comprehensive suite of technologies and tools. Among these engines, Unity3D stands out as an integrated development tool, commonly used to create interactive content, such as video games and real-time 3D animations. Its user-friendly interface and cross-platform capabilities make it an ideal choice for independent developers, while its extensive library of assets provides a wealth of resources for creating engaging and immersive shooter games. This paragraph, with its professional tone, would be suitable for inclusion in a project abstract or other formal documents related to the field of software engineering. Our project demonstrates the creation of a video game using Unreal Engine and an agile methodology, which consists of four stages: preproduction, production, testing, and post-production. Through careful planning and execution, we were able to create a high-quality game in a short period of time with limited resources. This methodology has proven to be efficient, economical, and sustainable, reducing development costs and ensuring faster time to market. Our project showcases the applicability of this methodology, reinforcing our belief that adopting agile methodologies can lead to successful and sustainable projects in the gaming industry.
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Koç, Feden. "The Effect of Video Games and Video Game Playing Time on the Performance of Computerized Accounting Lesson." International Journal of Technology in Education 6, no. 3 (2023): 488–506. http://dx.doi.org/10.46328/ijte.525.
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In this study, it is aimed to determine the effect of video game playing time on academic performance of students who play video games and take computerized accounting courses at Uşak University and attend computerized accounting courses. The data obtained with the questionnaire applied to a total of seventy students within the scope of the study were analyzed with the SPSS 26 statistical analysis program. The findings obtained from the study revealed that the majority of the students played video games for 1-2 hours a day on average and preferred Akınsoft software in the computerized accounting course. Other findings obtained from the study show that playing video games accelerates the learning process, using computer, keyboard, mouse, etc. in computerized accounting course. It has been revealed that it provides practicality in the use of technological tools, provides practicality in the creation of accounting slips, facilitates the detection of errors in incorrectly created accounting slips, and enables the different accounting package programs to be investigated curiously. In addition, another finding obtained within the scope of the study revealed that the duration of playing video games contributed to the academic performance of the computerized accounting course at a low level
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Nyman, Elizabeth, and Ryan Lee Teten. "Lost and Found and Lost Again." Games and Culture 13, no. 4 (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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Alshhre, Ali M. "قصص لم تُكتشف: توجيه تأثير الأدب على تطوير ألعاب الفيديو والإبداع". Kufa Journal of Arts 1, № 60 (2024): 365–91. http://dx.doi.org/10.36317/kja/2024/v1.i60.14727.
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The video game industry has flourished since the 1970s, and literature has had a profound impact on game creation, from classic novels to graphic novels and comics. Although adapting literary works can enhance video games' cultural significance, it may hinder originality. The Lord of the Rings series has left a lasting influence on gaming, with various adaptations showcasing the potential of literature to inspire gaming experiences. Balancing literary inspiration with innovative gameplay is a challenge for developers, but achieving equilibrium is crucial for immersive experiences. Analysing the relationship between literature and gaming highlights the creative possibilities of both mediums, emphasizing the importance of fostering originality. This article explores how video game adaptations of Tolkien's novels offer insights into British culture, demonstrating games' ability to connect diverse cultures and promote understanding.
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Babanova, A. I. "The dialectic of freedom in the game space." Kazan Socially-Humanitarian Bulletin, no. 6 (63) (January 9, 2024): 138–45. http://dx.doi.org/10.26907/2079-5912.2023.6.138-145.
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By the dialectic of freedom, we understand the internal contradiction and interaction of opposite terms describing the game reality. At first glance, play and freedom are two incompatible phenomena. A game is a form of activity in which the subject adheres to the rules to achieve a goal. Freedom is a category that defines the borderline status of things. We will put forward the opposite thesis: it is within the limits of the game space that free will is formed.This issue is becoming relevant due to the growing popularity of the field of video games and game design. With the development of digital technologies, people began to spend more time in virtual space, and relax and chat in video games. A video game is a digital product in which anthropological qualities are clearly expressed – in the game, the goal and actions are built around the player and for the player.Since the game is a cultural creation of man, it cannot do without the participation of freedom. Freedom is a person's spiritual footprint in the game space. Moreover, the idea of freedom is already embedded in the essence of the game: a person's natural desire to overcome boundaries and himself. Can a game space reflect genuine human freedom?
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Nur Affandi, Amam. "Pembuatan Game 2D Melawan Virus Menggunakan Unity Engine." SEMINAR TEKNOLOGI MAJALENGKA (STIMA) 8 (October 1, 2024): 35–42. http://dx.doi.org/10.31949/stima.v8i0.1243.
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A game or game is something that can be played with certain rules so that there are winners and there are losers, usually in a context that is not serious with the purpose of refreshing. Various games include; action, action-adventure, simulation, construction, and management, role playing games (RPG), strategy, racing, sports, puzzles, and word games. To create a digital game, a game engine designed to develop video games on various platforms is required. The Unity Engine can be used to create 2D (two-dimensional) and 3D (three-dimensional) games and supports a wide range of cross-platform devices such as smartphones, PCs, PlayStation 5, and many other platforms. In this study, the researcher wants to implement the creation of a 2D game called LAVIR using the GDLC (Game Development Life Cycle) method. The creation of this game aims to reduce anxiety, fear and eliminate boredom.
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USPENSKYI, M. S., M. S. USPENSKYI, and V. V. NESTERENKO. "NOTION “ARCHITECTURE” IN THE CONTEXT OF CONTEMPORARY VIRTUAL ART DEVELOPMENT (ON EXAMPLE OF A VIDEO GAME)." Ukrainian Journal of Civil Engineering and Architecture, no. 6 (January 14, 2023): 106–14. http://dx.doi.org/10.30838/j.bpsacea.2312.271222.106.917.
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Problem statement. The relevance of the article is due to recent changes that have occurred due to appearance of a large number of new contemporary art genres and types, which have appeared due to mixing, combining existing ones, caused by the advent of new technologies. This led to quantitative changes in the situation in the general systemic classification of arts as well as to the blurring of the boundaries between traditional arts and created the need to search for a specification of each art content and architecture, in particular. The problem is defined by the lack of certainty in relation to the notion of architecture. The purpose of the article. In accordance with it, the goal to redefine the notion of architecture is made. Methods. The method of semantic analysis was chosen as the main one to formulate a notion definition of architecture based on the definition of a video game. Conclusions. To achieve the purpose, the following tasks are solved. In classifying the arts according to the type of carrier and the type of time change, video games is selected as the art form with the most common features. A comparison of video game and architecture is made by examples of their practical joint application. Examples of the gaming technologies implementation into software products assigned for architects, examples of video games indirect influence at the development of technical means, examples of the architecture tools use in the creation of games are listed. A retrospective of the game notion definition from ancient times to the present day is examined. The researches concerning the notion definition of the game in modern society are analyzed. A number of differential features of the video game notion definition are highlighted and the video game notion definition is formulated. Based on the notion definition of video game, the notion definition of architecture is formulated. The possibility of drawing such parallels between the video game and architecture creates the need for further research of the game in the context of architecture.
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Hastings, Erin, Ratan Guha, and Kenneth Stanley. "Demonstrating Automatic Content Generation in the Galactic Arms Race Video Game." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 5, no. 1 (2009): 189–90. http://dx.doi.org/10.1609/aiide.v5i1.12345.
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In most modern video games, content (e.g. models, levels, weapons, etc.) shipped with the game is static and unchanging, or at best, randomized within a narrow set of parameters. However, if game content could be constantly renewed, players would remain engaged longer. To realize this ambition, the content-generating NeuroEvolution of Augmenting Topologies (cgNEAT) algorithm automatically evolves novel game content based on player preferences, as the game is played. To demonstrate this approach, the Galactic Arms Race (GAR) video game, which incorporates cgNEAT, will be presented. In GAR, players pilot space ships and fight enemies to acquire novel particle system weapons that are evolved by the game. The live demo will show how GAR players can discover a wide variety of weapons that are not only novel, but also based on and extended from previous content that they preferred in the past. The implication of cgNEAT is that it is now possible to create games that generate their own content, potentially significantly reducing the cost of content creation and increasing the replay value of games.
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Park, Sojeong, and Kyunghoon Han. "Analysis of Sound Montage in Video Game Cut Scenes." Korean Society of Culture and Convergence 45, no. 12 (2023): 1195–205. http://dx.doi.org/10.33645/cnc.2023.12.45.12.1195.
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The purpose of this study is to analyze and derive the roles of music and sound in video games using the theory of sound montage, a predominant technique in the creation of audiovisual media. The methodology involves examining selected game cut scenes by applying the theory of sound montage to illuminate the relationship between auditory and visual elements. The analysis revealed that, similar to most audiovisual media, games tightly intertwine visual scenarios with the utilization of sound, confirming the application of sound montage theory in gaming, a technique previously observed mainly in films. This signifies the active use of sound montage as a crucial directing technique to encapsulate the director's intentions within game sound. It is anticipated that this study will serve as a meaningful contribution to the academic field by filling the gap in research concerning game sound production techniques
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Suciansyah, Ramadhani, Bartholomius Harpad, and Hanifah Ekawati. "Implementation of the Breadth First Search Algorithm in the Darkness Maze Game Based on Desktop Intelligent Agent." TEPIAN 2, no. 3 (2021): 125–29. http://dx.doi.org/10.51967/tepian.v2i3.346.
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This research was developed with a multimedia development stage consisting of 6 stages, namely Concept, Design, Material Collecting, Assembly, Testing and Distribution. Analysis of system design using UML (Unified Modeling Language) which consists of Use Case Diagrams, Activity Diagrams and Sequence Diagrams. In the development of this 3D game using the Unity Engine as software designed for the creation and development of video games assisted by typing some coding programs. The test method uses Black-Box testing and Beta Testing. Testing and Distribution (Distribution). Analysis of system design using UML (Unified Modeling Language) which consists of Use Case Diagrams, Activity Diagrams and Sequence Diagrams. In developing this 3D game using the Unity Engine as software designed for the creation and development of video games assisted by typing some coding programs. The test method uses Black-Box testing and Beta Testing. Testing and Distribution . Analysis of system design using UML (Unified Modeling Language) which consists of Use Case Diagrams, Activity Diagrams and Sequence Diagrams. In developing this 3D game using the Unity Engine as software designed for the creation and development of video games assisted by typing some coding programs. The test method uses Black-Box testing and Beta Testing. The final results of this study can be applied with the help of typing coding so that the path points that have been created can provide information about adjacent paths so that they can find an exit path.
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Cabrera Medina, Jaime Malqui, Irlesa Indira Sánchez Medina, and Boris Alberto Céspedes Muñoz. "inclusion engineer with STEAM in the educational institution." Ingeniería Solidaria 18, no. 3 (2022): 1–23. http://dx.doi.org/10.16925/2357-6014.2022.03.10.
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Introduction: The article presents a research carried out in an educational institution where video game design is worked through Kodu, for three years in a teaching-learning process of Mathematics and Natural Sciences in primary school with STEAM methodology. Objective: Strengthen skills in mathematical logic, creativity and environment as a basis for future engineering in 5th grade students. Methodology: The research was of a mixed type, using a documentary analysis for performance levels in mathematics and natural sciences in fifth grade. , an observation protocol for the characterization of the population, a verification test in the creation of video games. Results: As part of the statistical analysis, a significant progress is evidenced in the results obtained during the three years, and in conclusion, it is considered that the STEAM methodology is adequate to work with Kodu as the appropriate programming environment for the development of competence through Video game design in the educational process. Conclusion: The young researchers assume the role of inclusion engineer, using the Kodu programming environment with a STEAM learning methodology that integrates Science, Technology, Engineering, Art and Mathematics through the creation of their own video games, with representative bases to start in the world of engineering.
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Johnson, Mark R., and Jamie Woodcock. "The impacts of live streaming and Twitch.tv on the video game industry." Media, Culture & Society 41, no. 5 (2018): 670–88. http://dx.doi.org/10.1177/0163443718818363.
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This article explores the growing importance of live streaming, specifically on website and platform Twitch.tv, to the games industry. We focus not on live streaming as a form of media production and consumption, but instead explore its newly central role in the contemporary political economy of the whole video games ecosystem. We explore three cases: streaming newly released games and the attendant role of streaming in informing consumer choice; the visibility and added lifespan that streaming is affording to independent and niche games and older games; and the live streaming of the creation of games, shedding light on the games industry and subverting ordinarily expensive or highly competitive game-design courses, training and employment paths. To do so, we draw on empirical data from offline and online fieldwork, including 100 qualitative interviews with professional live-streamers, offline ethnography at live-streaming events, and online ethnography and observation of Twitch streams. The article concludes that live streaming is a major new force in the games industry, creating new links between developers and influencers and shifting our expectations of game play and game design, and is consequently a platform whose major structural effects are only now beginning to be understood.
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Lekhnitskaya, Polina Alexandrovna. "The White Room as a Narrative-Psychological Concept in a VideoGame." Культура и искусство, no. 10 (October 2023): 36–50. http://dx.doi.org/10.7256/2454-0625.2023.10.39034.
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Based on the ambiguity of the idea of the object of study complexity - videogames, the need to analyze them through the prism of several approaches, the subject of the study was an attempt to create a relatively universal narrative-psychological concept, which we called the "White Room". The universality of this concept lies in its applicability to various game contexts, however, this universality does not entail stereotypes, but implies the need to take into account three components when designing this concept in a game scenario: space, consciousness and simulacra. Space is where the game action takes place, consciousness is the game experience, the perception of the game process, simulacra - everything that fills the game world (objects, players, etc.), depending on the context, determines the interpretation of game events. Scientific novelty lies in the creation of a new narrative-psychological concept, which is based on the ideas of related disciplines and can be used for a wide range of tasks when creating a narrative video game design. The specificity of the concept of the White Room lies in the compositionally correct design of the space and the regulation of the game experience, its imposition on incoherent game scenes, the choice of the right simulacra, which are determined by the game context. The white room can act as the starting setting of the world, the setting, the creation of the world, the place of "psychological relief", self-digging, memories of the past to understand yourself today, the climactic scene, the whole game can also take place in it.
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Steinkuehler, Constance. "Massively Multiplayer Online Gaming as a Constellation of Literacy Practices." E-Learning and Digital Media 4, no. 3 (2007): 297–318. http://dx.doi.org/10.2304/elea.2007.4.3.297.
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The claim that video games are replacing literacy activities that is bandied about in the American mainstream press is based not only on unspecified definitions of both ‘games' and ‘literacy’ but also on a surprising lack of research on what children actually do when they play video games. In this article, the author examines some of the practices that comprise game play in the context of one genre of video games in particular — massively multiplayer online games (MMOGs). Based on data culled from a two-year online cognitive ethnography of the MMOG Lineage (both I and II), the author argues that forms of video game play such as those entailed in MMOGs are not replacing literacy activities but rather are literacy activities. In order to make this argument, the author surveys the literacy practices that MMOGamers routinely participate in, both within the game's virtual world (e.g. social interaction, in-game letters) and beyond (e.g. online game forums, the creation of fan sites and fan fiction). Then, with this argument in place, she attempts to historicize this popular contempt toward electronic ‘pop culture’ media such as video games and suggest a potentially more productive (and accurate) framing of the literacy practices of today's generation of adolescents and young adults.
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Clay, Elonda. "These Gods Got Swagger." Bulletin for the Study of Religion 40, no. 3 (2011): 4–9. http://dx.doi.org/10.1558/bsor.v40i3.002.
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This paper expands the topography of contexts in which research on hip hop and religion takes place by investigating the ways in which video game engines and video editing software are used by game players to produce films within virtual environments. My investigation highlights the online dramatic form of "machinima" (machine-cinema) - a creative, often unintended user adaptation of video game engines and movie-making software. I argue that ‘swagger’, a collective of black cultural expressions that signify confidence, success, rhythmic body movements, and highly stylized appearance, is reconfigured by gamers for virtual environments, resulting in the creation of highly stylized virtual worlds, the modding (modifying) of simulated characters, and the re-composing of the game’s narrative architecture into player-created storylines. In this regard, this article proposes that digital performances and emergent authorship have multiple implications for the study of African American religions.
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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 these reasons, the game concept tells the story of a young orangutan who has lost his habitat, and must go on an adventure to try to survive by finding a comfortable place for him. Pongo is the main character in this casual game. The methodology in game design uses research and development (Research & & Development). Data collection was carried out by searching for library data (supporting theories) and factual data (creation sources) and then data processing was used as a reference in preparing the game design concept. The visual appearance of Pongo Tap 2D is in pixel art style. The game is designed in 4 stages, each stage is identical with a different level regarding; gameplay, characters, and environment. The final result of the creation stage is an interactive application in the form of a video game for Android-based smartphone devices. Conclusion of design analysis; side scrolling platformer gameplay, orangutan characters, and endemic animal habitat environments.
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Vvedenskaya, Anna. "Common features of video games and social networks: importance for international taxation." Interactive Entertainment Law Review 3, no. 2 (2020): 105–20. http://dx.doi.org/10.4337/ielr.2020.02.03.
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In the last decade, significant review and change have been done regarding the taxation of profits from multinational companies. The OECD BEPS Action 1 is focused on granting additional taxing rights to jurisdictions where the customers of the service are located. This is because consumers add to the value creation process (prosumers), together with the company itself. Many enterprises do not have a physical presence at market jurisdictions because of the worldwide digitalization of the business process. With distant sales, they avoid sufficient taxation at the source countries. Multiple jurisdictions, businesses, and individuals provided various taxing rights allocation proposals. OECD considered some of them as possible ways to address the issue of under-taxation at market jurisdiction. This article evaluates the applicability of the OECD analysis of the value creation to the video games industry under the angle of differences and similarities between single-player and multi-player video games with social networks. This work is focused on the differences related to user participation and network effects for the value creation process. It explores the importance of the user participation and network effects for the value creation process of single-player and multi-player video games, to find if that respective taxing rights allocation should be different for these types of video game. It also analyses main proposals on taxing rights allocation, their applicability to the industry, and if these proposals acknowledge the differences in value creation based on the network effects of the video game. It was found that the existing proposals are not always consistent with the preparatory work on value creation analysis performed by the OECD and do not consider the named differences. The results of this work support the position that the proposals, including the most recent one, meet the existing urge for the taxing rights reallocation, but are mainly politically-driven and not always in line with the existing principles of international tax law.
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Vvedenskaya, Anna. "Common features of video games and social networks: importance for international taxation." Interactive Entertainment Law Review 3, no. 2 (2020): 105–20. http://dx.doi.org/10.4337/ielr.2020.02.03.
Full textAbstract:
In the last decade, significant review and change have been done regarding the taxation of profits from multinational companies. The OECD BEPS Action 1 is focused on granting additional taxing rights to jurisdictions where the customers of the service are located. This is because consumers add to the value creation process (prosumers), together with the company itself. Many enterprises do not have a physical presence at market jurisdictions because of the worldwide digitalization of the business process. With distant sales, they avoid sufficient taxation at the source countries. Multiple jurisdictions, businesses, and individuals provided various taxing rights allocation proposals. OECD considered some of them as possible ways to address the issue of under-taxation at market jurisdiction. This article evaluates the applicability of the OECD analysis of the value creation to the video games industry under the angle of differences and similarities between single-player and multi-player video games with social networks. This work is focused on the differences related to user participation and network effects for the value creation process. It explores the importance of the user participation and network effects for the value creation process of single-player and multi-player video games, to find if that respective taxing rights allocation should be different for these types of video game. It also analyses main proposals on taxing rights allocation, their applicability to the industry, and if these proposals acknowledge the differences in value creation based on the network effects of the video game. It was found that the existing proposals are not always consistent with the preparatory work on value creation analysis performed by the OECD and do not consider the named differences. The results of this work support the position that the proposals, including the most recent one, meet the existing urge for the taxing rights reallocation, but are mainly politically-driven and not always in line with the existing principles of international tax law.
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Lessard, Jonathan, and Carl Therrien. "Indies de province." Le jeu vidéo au Québec 14, no. 23 (2021): 15–35. http://dx.doi.org/10.7202/1078726ar.
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This paper looks at the emergence of video game creation in Québec prior to the industrial boom and the popularization of independent games. Built from personal archives and oral history, the paper highlights two unknown personalities from the history of video games in Québec: Christian Boutin and I-Grec. These portraits contribute to diversify the “indie” narrative and reconsider it as part of a longer history.
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Hofman-Kohlmeyer, Magdalena. "Brand-Related User-Generated Content in Simulation Video Games: Qualitative Research Among Polish Players." Central European Management Journal 29, no. 1 (2021): 61–87. http://dx.doi.org/10.7206/cemj.2658-0845.41.
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Purpose: The article sought to answer research questions regarding investigated branded content generated by players in simulation video games. How does the process work in video games? What are the characteristics of branded user-generated content in video games? To what extent players are willing to participate in branded content creation? Methodology: I conducted 20 in-depth interviews among Polish players, with the application of snowball sampling. The study participants were adult users of chosen simulation video games: The Sims, Second Life, and Euro Truck Simulator 2. Findings: We can distinguish content based on game mechanism, official add-ons, or game modding. Players frequently check some brands from a set offered by game developers and create content (e.g. in The Sims users can design house interiors with IKEA furniture). Some players are not satisfied by what a game offers and generate content based on modding (e.g. DHL trucks or McDonald’s restaurants inside the Euro Truck Simulator 2). In this respect, the article refers to Smith’s, Fischer’s, and Yongjian’s content dimensions. Branded game modifications described by respondents are characterized by a high level of similarity towards real brands and positive brand sentiment (valence). I noted no statement about player and marketer (brand) communication in gathered material. The biggest challenge for practitioners in the field of UGC in video games is how to manage brand messages. Practical Implications: Brand-related user-generated content is an important phenomenon in terms of the brand-building process and its impact on brand reception, which all require marketers’ attention. For game developers, such a content is a source of information about customer expectations. Players show their personal expectations by game modding. Originality/Value: Brand-related content generated by users is frequently associated with social media. The scholarship shows a lack of knowledge of branded user-generated content in video games.
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Sarassati, Renovita, Amrullah Amrullah, and Ahmad Saipullah. "Media Video Animasi 3D Sebagai Salah Satu Pembelajaran." CICES 4, no. 1 (2018): 113–24. http://dx.doi.org/10.33050/cices.v4i1.482.
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3D animation is the creation of moving images in 3 dimensional digital space. This is done by creating a frame that simulates each image. In 3D video animation learning is very much in the interest of today's society and the future, so the 3D media is very important in making animation, filmed with a virtual camera, and the output of the video which is already rendering or Realtime, if the goal is to create a game. 3D animations typically display at speeds in excess of 24 frames per second. The concept of 3D animation itself is a model that has the shape, volume, and space. 3D animation is at the heart of gaming and virtual reality, but usually 3D animation is also used in graphical presentations to add visual effects or movies.
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Andiloro, Andrea. "‘This must be the place’: Understanding video game placeness through atmosphere and the refrain in Dark Souls." Journal of Gaming & Virtual Worlds 14, no. 2 (2022): 207–23. http://dx.doi.org/10.1386/jgvw_00058_1.
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This article explores how atmosphere is implicated in the establishment of place in gameworlds through the concept of the ‘refrain’. The atmosphere of a video game is often one of the most memorable constituents of our ludic experiences and is defining of the video game places we encounter during play, yet atmospheres remain highly under-researched and under-theorized within game studies. The article introduces some key theories of atmosphere and explain their relation to ‘place’ and subsequently explore how ‘place’ has been theorized and developed within game studies. I then elaborate on how atmosphere, understood existentially, is conducive to the creation of an atmosphere by addressing the examples of Dark Souls’ hub area and boss arenas. Working through the Deleuze‐Guattarian concept of ‘refrain’, I argue that patterns of sound, images and behaviours establish a territory marked by a certain affective intensity, or atmosphere, enabling the experience of place.
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O’Hagan, Minako. "Putting Pleasure First: Localizing Japanese Video Games." TTR 22, no. 1 (2010): 147–65. http://dx.doi.org/10.7202/044785ar.
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Since their humble beginnings, video games have undergone huge technological advances, becoming a significant global industry today and highlighting the role played by translation and localization. Despite the continuing localization activities undertaken in the industry, translation studies (TS) have not paid much attention to video games as a research domain. Drawing on the author’s previous work on the Japanese Role Playing Game (RPG) Final Fantasy titles, this paper attempts to demonstrate the ample research scope that this domain presents for TS scholars. In particular, it discusses the unique localization model used by Final Fantasy’s Japanese publisher, illustrating how the games’ new digital platform allows the (re)creation of a new gameplaying pleasure directly through the localization process itself. In this model, the original game merely sets off a chain of improvements through localization. In turn, understanding the different pleasures drawn from different localized versions of games will contribute useful insights into emerging games research.
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Nayak, Mohit Raj, and J. B. Simha. "Experiment of Fuzzy Logic on Game System." International Journal for Research in Applied Science and Engineering Technology 11, no. 10 (2023): 1837–45. http://dx.doi.org/10.22214/ijraset.2023.56329.
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Abstract: Applications of fuzzy logic in game creation have proven useful, especially when it comes to modelling the behavior of non-player characters (NPCs) in video games. NPC behavior in video games has historically been governed by strict rule-based systems or scripted sequences, which frequently led to restricted and predictable interactions. On the other hand, fuzzy logic adds a degree of flexibility and ambiguity to the decision-making processes of NPCs. By improving the naturalness, adaptability, and emotional resonance of NPC behavior, fuzzy logic may greatly enhance player experiences in games. It provides players with progressively more engaging and dynamic gaming experiences as it continues to be incorporated into game production, opening up new possibilities for interactive narrative, gaming, and immersive virtual worlds. Based on Utku Kose's article, "Developing a Fuzzy Logic Based Game System," I have investigated the use of fuzzy logic in gaming contexts for NPC decision-making in this study.
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McDaniel, Rudy, and Stephen M. Fiore. "Best Practices for the Design and Development of Ethical Learning Video Games." International Journal of Cyber Ethics in Education 2, no. 4 (2012): 1–23. http://dx.doi.org/10.4018/ijcee.2012100101.
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This article builds upon earlier research (McDaniel & Fiore, 2010) in which the authors presented case studies focused on the design and development of two original ethical learning video games. Through this case study and a review of relevant literature, the authors explored the content creation of, and theoretical rationale for, the design and development of ethics games. Both games were geared toward an undergraduate student audience as casual learning games to be completed in a few hours of gameplay. To update and expand this original work, the authors reviewed contemporary research on identity, cognition, and self in relation to video game environments as well as literature dealing more specifically with ethics and video games. From this literature base and their applied design experiences, the authors offer ten guidelines as best practices to follow for aspiring ethics game developers.
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Studley, Thomas, Jon Drummond, Nathan Scott, and Keith Nesbitt. "Can Competitive Digital Games Support Real-Time Music Creation?" Journal of Sound and Music in Games 3, no. 1 (2022): 1–35. http://dx.doi.org/10.1525/jsmg.2022.3.1.1.
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This article presents practice-based research exploring the interplay of real-time music creation and competitive gameplay. Musically creative video games, apps, and sound art are first surveyed to highlight their characteristic avoidance of competitive game elements. The relationship between play, games, and musical activity is then examined with reference to theoretical perspectives from ludomusicology and game studies, revealing a series of mechanical and aesthetic design tensions emerging between competitive gameplay and music creation. Two original music games are presented to explore this interplay across contrasting design approaches: EvoMusic engenders an abstract competitive dialogue between the player and system for authorial control, while Idea presents a more explicit ludic framework with goals, progression, danger, and victory. The games are evaluated in a comparative user study to capture the player experience of composing within competitive game settings. Participant responses revealed conflicting expectations for ludic and compositional experiences. Idea was the preferred game, yet its strong ludic elements distracted from or disincentivized music creation; EvoMusic offered more focused music creation yet also a weaker gameplay experience for lacking these same competitive elements. This relationship reflects the theoretical design tensions suggested by ludomusical scholarship. Further, a majority of participants characterized EvoMusic as being simultaneously competitive and creatively stimulating. The implication is that competitive games can support music creation for certain players, though it remains challenging to satisfy expectations for both within any one system. Design recommendations are drawn from these insights, and the potential for future research into creative music games is discussed.