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Journal articles on the topic 'Video game designer'
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Gow, Jeremy, and Joseph Corneli. "Towards Generating Novel Games Using Conceptual Blending." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 11, no. 3 (June 24, 2021): 15–21. http://dx.doi.org/10.1609/aiide.v11i3.12824.
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We sketch the process of creating a novel video game by blending two video games specified in the Video Game Description Language (VGDL), following the COINVENT computational model of conceptual blending. We highlight the choices that need to be made in this process, and discuss the prospects for a computational game designer based on blending.
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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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Capasso-Ballesteros, Italo Felipe, and Fernando De la Rosa-Rosero. "Semi-automatic construction of video game design prototypes with MaruGen." Revista Facultad de Ingeniería Universidad de Antioquia, no. 99 (March 27, 2020): 9–20. http://dx.doi.org/10.17533/udea.redin.20200369.
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Machinations Ruleset Generator (MaruGen) is a semi-automatic system for the generation of mechanics, rules, spaces (environments), and missions for video games. The objective of this system is to offer an expression mechanism for the video game designer role based on the definition of rules, and the ability to explore the concepts of progression and emergence in video games by using a formal, usable, and defined tool to design games with innovative and complex elements, and behaviors defined from combinations of basic elements. Based on the expressed designs and with the participation of programmers and video game artists, MaruGen allows the generation of agile video game prototypes in the Unity game engine. These prototypes can be analyzed by the entire workgroup to look for games with diverse complexities that make them attractive to their users. MaruGen is based on the expression of rules on elements of interest in video games and the rewriting mechanism using L-Systems for the generation of procedural content. MaruGen was evaluated in the construction of the Cubic Explorer video game and tested by gamers and video game developers during the Game Jam Ludum Dare 38.
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Thomas, Christian. "Interview: Acclaimed Game Designer Ryan Kaufman Discusses Telltale Games, Star Wars, Harry Potter, and How Video Games Can Transform Us." Arts 10, no. 3 (July 8, 2021): 46. http://dx.doi.org/10.3390/arts10030046.
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McDaniel, Rudy, and Joseph R. Fanfarelli. "Rhythm and Cues." International Journal of Sociotechnology and Knowledge Development 7, no. 3 (July 2015): 20–37. http://dx.doi.org/10.4018/ijskd.2015070102.
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This essay situates game design and development within the domain of sociotechnical research and reviews the results of a case focusing on the design and development of an original video game level with platformer mechanics. Using a case history methodology with autoethnographic methods, the work studies the context in which small game components are authored and methods by which knowledge is exchanged and applied within rapidly developed software systems. It argues that the designer experience is a critical phenomenon to understand within the study of user experience in video games given the iterative nature of development and the necessity of frequent, in-house playtesting. The video game was designed by the authors and developed using preexisting assets from prior projects. Results suggest ideas for incorporating UX strategies into micro-project management techniques that are useful for small and large projects alike. The work closes by calling for future areas of research in related areas.
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Smith, Nick. "William Higinbotham: Nuclear Pioneer and Games Designer." Engineer 302, no. 7937 (June 2022): 44–45. http://dx.doi.org/10.12968/s0013-7758(22)90574-4.
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Neiva, Eduardo, and Carlo Romano. "The Semiotic Immersion of Video Games, Gaming Technology and Interactive Strategies." Public Journal of Semiotics 1, no. 2 (July 1, 2007): 31–49. http://dx.doi.org/10.37693/pjos.2007.1.8819.
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The paper analyzes the effect of immersion in digital games using the theoretical apparatus of game theory. The paper illustrates interactive operations and the cause and effect relationship between player and designer, explaining the importance of strategic decision-making and pathing in player immersion. It considers the game function of creating a virtual world and proposes the idea that digital games are not just computer-mediated communication to the player. These games are games of “the moment”, like the game Chicken, and played with apparently great emotion, intelligence, and physical dexterity, although represented in software form. The relationship between the player and the computer is one of sign exchange, precisely the one that semiotics calls semiosis. The paper concludes that the personal achievement of individual players (end-users) accounts for the phenomenon of deep immersion in digital games. Not virtuality, but virtuosity is the strong force in digital game playing.
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Qaffas, Alaa A. "An Operational Study of Video Games’ Genres." International Journal of Interactive Mobile Technologies (iJIM) 14, no. 15 (September 11, 2020): 175. http://dx.doi.org/10.3991/ijim.v14i15.16691.
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This paper presents a study of the most successful games during the last 34 last years (1986 – 2019). We observed that the 100 most ranked games are represented by 16 genres (adventure, role-playing, shooter, platform, puzzle, strategy, hack and slash/beat 'em up, real time strategy, turn-based strategy, point-and-click, indie, racing, sport, fighting, arcade and simulator). These genres are then compares to show which genres are more attractive for players. As a result, we observed that 6 genres among the 16 represent the most ranked games (adventure, RPG, shooter, platform, puzzle, and strategy). They represent 0.83 of the successful games. This allowed us to recommend to combining the others genres with the 6 selected genres. Also, we analyzed the evolution of the 16 games genres during the last 34 years. We observed that some genres have a great success until the past decades, but they haven’t a success in this decade. Game designers and researchers in the field of games may rethink about how to add attractive elements in the genres non-successful in this decade. Also, we observed that some genres like the indie games haven’t a great success in the past decades, but they have an important increased success in this decade. This may encourage the decision makers and the game designer to invest on these genres.
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Strode, Aina, and Margarita Romančenko. "INTERDISCIPLINARITY IN DESIGN AS A CHALLENGE FOR PROFESSIONALISM - AN EXAMPLE OF INTERFACE DESIGN." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 808. http://dx.doi.org/10.17770/sie2020vol5.5155.
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The need for diverse knowledge and skills in the work of a designer is a problem in vocational education, which mainly focuses on the artistic aspect of design. The aim of this article is to analyze the specifics of User Interface Design, its relation to User Experience Design, to determine the User Interface designer professional skills and how to acquire them. Research methods – theoretical: literature research; empirical – questionnaire. Exploring educational opportunities in Experience Design and User Interface Design demonstrates the need for Video game Interface study programs, particularly in the Latvian context. As the curriculum is traditionally designed for narrowly focused specialization, it would be appropriate to develop study modules for User Interface Design that include acquiring both graphics, game design and programming skills. The results of the video game developer survey demonstrate the role of practice in improving professional experience.
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Délécraz, Cyril. "Scoring the Original Soundtrack of an Escape Room." Journal of Sound and Music in Games 4, no. 1 (January 1, 2023): 26–71. http://dx.doi.org/10.1525/jsmg.2023.4.1.26.
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Through the example of Nobody – Vis et ressens (Nice, France, 2021), this article sheds light on the musical creation process involved in the conception of an automatized escape room, where participants experience a multimodal experience (sound, light, scenery, video) driven by an original scenario. As the composer, sound designer, and computer music designer, I propose to study Nobody as a playful game. I show how current ludomusicology insights can be used and adapted to a game that is played in a physical space. After first exposing considerations of both technical and aesthetic aspects, I explain the artistic choices made for creating the soundtrack of six interactive puzzles. Through practice-led research of these different mini music games, I analyze how the influence of electronic dance music (EDM) and related club culture are melded together into the development of the plot and its retro-futuristic theme. I show how constraints forced me to adapt the audio content yet also opened a wide range of musical possibilities. The analysis helps clarify how what I call “game music” differs from “background music”. Moreover, the discussion highlights compositional issues that are similar to video game music-making and shows that escape rooms need to be studied further within the field of ludomusicology. Although some of the analytical tools remain valid because of their technical aspect (transition types, typology of music games, transition speed quantization) or their theoretical aspects (ALI model, branching-layering concept, triple lock of synchronization), traditional concepts such as “immersion” or “game feel” need to be questioned for escape room games, as that type of game takes place in a physical space.
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Hambleton, Elizabeth. "Gray Areas." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 20–43. http://dx.doi.org/10.1525/jsmg.2020.1.1.20.
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“Navigable narratives” are a subgenre of narrative-based video games under the umbrella definition of “walking simulators.” While they are a subgenre of video games, analyzing their score or soundscape purely through a video game lens paints an incomplete picture because of their different artistic focus. Models like Elizabeth Medina-Gray's modular analysis are a useful start but insufficient on their own to understand this genre's sound. Rather, a participant's experience in a navigable narrative is often quite similar to that of a soundwalk, especially a virtual reality soundwalk; the game composer/audio designer creates an intricate soundscape through which the participant moves, and with the main focus on the story and gradual travel, the participant has more time and capacity than in a typical video game to build meaning from the soundwalk they perform. One of the major relationships navigable narratives have with soundwalks is the breakdown of diegesis in the soundscape the participant takes in, which is unlike most video games. To analyze the soundwalk and also the soundscape present in navigable narratives, I draw from R. Murray Schafer, Hildegard Westerkamp, and Janet Cardiff. In the opposite direction, in many ways navigable narratives are very much like “literary computer games,” or interactive narratives that may be analyzed via “ludostylistics” à la Janet Murray and Astrid Ensslin. A key element in many navigable narratives is the use of narrative time, as described by Alicyn Warren, rather than real time, which also sets navigable narratives apart from standard video games and especially from soundwalks. To explore these varied models and lenses, I demonstrate an analytical approach, using Leaving Lyndow (2017) as my primary case study. And so, between these analytical lenses of video game music theory, soundscape and soundwalk study, and ludostylistics applicable to literary computer games, I posit that the sound of navigable narratives is best understood through a synthesis of all three.
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Nacher, Anna, and Filip Jankowski. "Re-writing histories of colonization in video games: the case of Elizabeth LaPensée." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (June 15, 2021): 123–41. http://dx.doi.org/10.14746/i.2021.38.08.
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The article is aimed at presentation of the case study in video games creation by Indigenous auteur and designer, Elizabeth LaPensée, which at the same time demonstrates how video games can both mediatize the process of re-writing history and decolonize popular imagination. The analysis of LaPensée’s three games: Invaders, Thunderbird Strikes, and When the Rivers Were Trails to some extent follows her own strategies of self-identification as Anishinabee (Ojibwe). Drawing upon reconfiguration of the auteur theory and the framework of ludostylistics by Astrid Ensslin, we also strive to demonstrate how the notion of a singular author is in fact grounded in collective and collaborative qualities of indigenous digital culture, including digital game design.
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Yumartov, Dmitriy. "Autonomy and nomadic Relativism of Digital Identity." Artificial societies 16, no. 4 (2021): 0. http://dx.doi.org/10.18254/s207751800017576-2.
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The article examines identity in such digital spaces as video games and virtual reality. These digital spaces are defined as interactive artificial environment, autonomous from reality, with its own ontology, scenario, narrative and mythological context. Video games have an immersive experience that is enhanced in virtual reality due to the ability to integrate into the embodiment of the game's model. The type of digital identity that is defined by the video game designer in accordance with narrative and artistic goals is what we call a character. The opposite type is an avatar, it reflects strategies of self-presentation of an individual (user). Digital identity interests us primarily because of the ability to be independent (autonomous) from human physiology and from social categories that are attributed to the user in the real world. Digital identity can be constructed by the individuals in accordance with their preferences, which makes it possible to solve many gender, racial, and age problems. The possibility to integrate into an avatar embodiment and interact with in-game items it reinforces the distance from real embodiment. Moreover, in multiplayer games with the civil roleplay, it can exist in an artificial society and have introspective meaning for another members of the society. Another significant feature of digital identity is the relativism. Digital identity can be relativistic due to the which allow one to have different identities in different games or change the appearance of an avatar in one game during a play time. Autonomy and relativism can be the strategy for the implementation of projects of nomadic identity by Rosi Braidotti and Donna Haraway, in which subject is not sticked to any constants, but constantly defines and redefines oneself through performative acts.
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Klaehn, Jeffery. "Talking Fate, Torchlight and Rebel Galaxy with video game designer and developer Travis Baldree." Journal of Gaming & Virtual Worlds 11, no. 2 (September 1, 2019): 191–98. http://dx.doi.org/10.1386/jgvw.11.2.191_7.
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Zhao, Richard, and Duane Szafron. "Using Cyclic Scheduling to Generate Believable Behavior in Games." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 10, no. 1 (June 29, 2021): 94–101. http://dx.doi.org/10.1609/aiide.v10i1.12709.
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Video game virtual characters should interact with the player, each other, and the environment. However, the cost of scripting complex behaviors becomes a bottleneck in content creation. Our goal is to help game designers to more easily populate their open world with background characters that exhibit more believable behaviors. We use a cyclic scheduling model that generates dynamic schedules for the daily lives of virtual characters. The scheduler employs a tiered behavior architecture where behavior components are modular and reusable. This research validates the designer usability of an implementation of this model. We present the results of a user study that evaluates the scheduling system versus manual scripting based on three metrics of behavior creation: behavior completeness, behavior correctness and behavior implementation time. The results indicate that the behavior architecture produces more reliable behaviors and improves designer efficiency which will reduce the cost of generating more believable character behaviors.
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Ahmad, Ibrahim, Nazreen Abdullasim, and Norhaida Mohd Suaib. "Usability testing on game interface design using video-based behavior analysis." International Journal of Engineering & Technology 7, no. 2.15 (April 6, 2018): 142. http://dx.doi.org/10.14419/ijet.v7i2.15.11372.
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The objective of this study is to quantitatively incorporate user observation into usability evaluation of game interface design. In this study, an experiment was conducted to monitor and record users' behavior using built in video-cam. The experiment was done after the user play “A Garuda” game. All the character movement controlled by user were captured and recorded for comparative analysis. There were about 20 people involved as a subject for this experiment. The data from video recordings were coded with Noldus Observer XT in order to find usage patterns and thus to gather quantitative data for analyzing the GUI effectiveness, efficiency and satisfaction. The result of user's interaction towards the design of game's GUI able to give additional information for the game designer to develop a better responsive game toward its usability. The effect of user's control and emotion that can be seen from user's face will give the information needed to be considered in game development. Previous studies mostly focusing on evaluating the usability with performance measures by only looking at task results. Thus, at the end of this study, a method is proposed by incorporating user observation into usability evaluation of game design interfaces.
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Oliveira, Francisco, Eduardo Tavares, Erica Sousa, and Bruno Nogueira. "Video Conferencing Evaluation Considering Scalable Video Coding and SDN Network." Revista de Informática Teórica e Aplicada 25, no. 2 (July 17, 2018): 38. http://dx.doi.org/10.22456/2175-2745.79310.
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Video conferencing is very common nowadays, and it may contemplate heterogenous devices (e.g., smartphones, notebooks, game consoles) and networks in the same session. Developing video conferencing systems for this myriad of devices with different capabilities requires special attention from system designer. Scalable video coding (SVC) is a prominent option to mitigate this heterogeneity issue, but traditional Internet protocol (IP) networks may not fully benefit from such a technology. In contrast, software-defined networking (SDN) may allow better utilization of SVC and improvements on video conferencing components. This paper evaluates the performance of video conferencing systems adopting SVC, SDN and ordinary IP networks, taking into account throughput, delay and peak signal-to-noise ratio (PSNR) as the metrics of interest. The experiments are based on Mininet framework and distinct network infrastructures are also considered. Results indicate SDN with SVC may deliver better video quality with reduced delay and increased throughput.
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Patterson, Christopher B. "Making Queer Asiatic Worlds: Performance and Racial Interaction in North American Visual Novels." American Literature 94, no. 1 (January 27, 2022): 17–47. http://dx.doi.org/10.1215/00029831-9696973.
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Abstract This paper argues that video games expose the presumptions separating “Asian America” and “Asia” in the traditional senses of isolation, origination, and presumed distance. It does so by focusing on the most “Asiatic” genre of video games today, the North American visual novel, which offers a counterdiscourse to normative modes of play and attempts to offer utopic spaces to reflect upon the “real” genres of race and neo–Cold War geopolitics. Using theories of performance from Dorinne Kondo and others, the author shows how queer indie visual novels are primarily aspirational, in that they build queer, utopic, and seemingly anti-racist worlds through the Asiatic space of the visual novel form. In so doing, they also allow players to explore the Asiatic as a means of repairing the traumas and distances of American imperial cultures. The article analyzes four visual novels to make this argument: three by non-racially-identifying North American designers—Doki Doki Literature Club! (2017) by Dan Salvato, Analogue: A Hate Story (2012) by Christine Love, and Heaven Will Be Mine (2018) by Aevee Bee—and Butterfly Soup (2017), a game by the queer Asian/American designer Brianna Lei. If games make the boundaries of Asia and America irrelevant, visual novels explore this irrelevance through Asiatic irreverence.
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Smith, Geneva, and Jacques Carette. "Design Foundations for Emotional Game Characters." Eludamos: Journal for Computer Game Culture 10, no. 1 (April 21, 2020): 109–40. http://dx.doi.org/10.7557/23.6175.
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Recent Computer Role Playing Games such as Bethesda’s The Elder Scrolls V: Skyrim and Nintendo’s The Legend of Zelda: Breath of the Wild, have entranced us with their expansive, complex worlds. However, the Non-Player Characters (NPCs) in these games remain stale and lackluster outside of scripted events. This is, in part, because game engines generally do not simulate emotions in their NPCs while they wander in the world. Wouldn't these games be much more interesting, potentially even more re-playable, if NPCs reacted more appropriately to the situations they find themselves in?To be able to do this, designers need an engine that models emotion, based on inputs available in the game world and from other designer-defined character elements such as personality, goals, and mood. A full-fledged cognitive architecture could fulfill this task, but it would likely be much too inefficient for use in a real-time environment like a game.There are many psychological models of emotion but only a few have been explored for video game applications. A game requires an emotion engine which generates believable results to enhance NPC agency and player engagement. Unlike AI agents and simulations of cognitive psychology theories, an emotion engine for games does not need to be correct or even justifiable. This enables the exploration of a variety of emotion theories that have not been actively considered for games. One such theory is Plutchik's psychoevolutionary synthesis. He proposes a method of organizing emotions into a cone, where the intensity of an emotion increases as one moves up the sides. It also postulates that primary emotions in the model can be arranged in opposing pairs and that other emotions can be composed from the primary emotions and their intensities. This allows for greater flexibility in the number and type of emotions to include, whereas most models that have been used before define a closed set of emotion types—a serious constraint on designer's freedom. A second theory, Lazarus's cognitive appraisal, better describes emotion elicitation and behaviour selection, and appears to integrate well with Plutchik's work.An emotion engine based on simplified versions of psychoevolutionary synthesis and cognitive appraisal is an understudied approach towards emotional NPCs. Together with readily identifiable elements of emotion processing, such as attention and action selection, an engine can be designed and customized to meet the needs of game designers with minimal impact on computational resources.We will present an overview of some existing cognitive architectures and emotion engines followed by a description of key elements in psychoevolutionary synthesis and cognitive appraisal. Next we list some requirements for an emotion engine for NPCs and how our selected emotion theories meet them. Finally, we propose a design and a collection of game-oriented test scenarios to illustrate how our design handles various facets of NPC emotional responses.
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Laskari, Iro. "Creating algorithmic audio-visual narratives through the use of augmented reality prints." Technoetic Arts 17, no. 1 (June 1, 2019): 25–31. http://dx.doi.org/10.1386/tear_00003_1.
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Abstract This article investigates the hypothesis of creating non-linear audio-visual narratives, through an unanticipated use of traditional print-based games, enriched with videos, via augmented reality (AR) possibilities. A ludic system has been created and presented. Based on a traditional card game, a non-linear cinematic narrative occurs. We attempt to examine the following questions: in which way can we bring together different forms of visual communication, such as graphic design and video? Can the above forms create a complex narrative whole and what kind of rules will be needed for this? How can we enrich traditional forms of gaming with the potentials of AR? Gaming itself demands a set of rules. Can these rules play the role of algorithms in the combined universe that we have designed and created? In which way can the designer on the one hand and the user on the other influence the overall output of the system? What will the user experience be like? The printed card system chosen for this is Tarot and more precisely the Great Arcana, which makes use of the 22 fundamental Tarot figures.
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Thue, David, and Vadim Bulitko. "Procedural Game Adaptation: Framing Experience Management as Changing an MDP." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 2 (June 30, 2021): 44–50. http://dx.doi.org/10.1609/aiide.v8i2.12535.
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In this paper, we present the Procedural Game Adaptation (PGA) framework, a designer-controlled way to change a game's dynamics during end-user play. We formalize a video game as a Markov Decision Process, and frame the problem as maximizing the reward of a given player by modifying the game's transition function. By learning a model of each player to estimate her rewards, PGA managers can change the game's dynamics in a player-informed way. Following a formal definition of the components of the framework, we illustrate its versatility by using it to represent two existing adaptive systems: PaSSAGE, and Left 4 Dead's AI Director.
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Fontaine, Matthew C., Ruilin Liu, Ahmed Khalifa, Jignesh Modi, Julian Togelius, Amy K. Hoover, and Stefanos Nikolaidis. "Illuminating Mario Scenes in the Latent Space of a Generative Adversarial Network." Proceedings of the AAAI Conference on Artificial Intelligence 35, no. 7 (May 18, 2021): 5922–30. http://dx.doi.org/10.1609/aaai.v35i7.16740.
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Generative adversarial networks (GANs) are quickly becoming a ubiquitous approach to procedurally generating video game levels. While GAN generated levels are stylistically similar to human-authored examples, human designers often want to explore the generative design space of GANs to extract interesting levels. However, human designers find latent vectors opaque and would rather explore along dimensions the designer specifies, such as number of enemies or obstacles. We propose using state-of-the-art quality diversity algorithms designed to optimize continuous spaces, i.e. MAP-Elites with a directional variation operator and Covariance Matrix Adaptation MAP-Elites, to efficiently explore the latent space of a GAN to extract levels that vary across a set of specified gameplay measures. In the benchmark domain of Super Mario Bros, we demonstrate how designers may specify gameplay measures to our system and extract high-quality (playable) levels with a diverse range of level mechanics, while still maintaining stylistic similarity to human authored examples. An online user study shows how the different mechanics of the automatically generated levels affect subjective ratings of their perceived difficulty and appearance.
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Schrum, Jacob, and Risto Miikkulainen. "Solving Multiple Isolated, Interleaved, and Blended Tasks through Modular Neuroevolution." Evolutionary Computation 24, no. 3 (September 2016): 459–90. http://dx.doi.org/10.1162/evco_a_00181.
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Many challenging sequential decision-making problems require agents to master multiple tasks. For instance, game agents may need to gather resources, attack opponents, and defend against attacks. Learning algorithms can thus benefit from having separate policies for these tasks, and from knowing when each one is appropriate. How well this approach works depends on how tightly coupled the tasks are. Three cases are identified: Isolated tasks have distinct semantics and do not interact, interleaved tasks have distinct semantics but do interact, and blended tasks have regions where semantics from multiple tasks overlap. Learning across multiple tasks is studied in this article with Modular Multiobjective NEAT, a neuroevolution framework applied to three variants of the challenging Ms. Pac-Man video game. In the standard blended version of the game, a surprising, highly effective machine-discovered task division surpasses human-specified divisions, achieving the best scores to date in this game. In isolated and interleaved versions of the game, human-specified task divisions are also successful, though the best scores are surprisingly still achieved by machine discovery. Modular neuroevolution is thus shown to be capable of finding useful, unexpected task divisions better than those apparent to a human designer.
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Wan Mahzan, Mohd Syazwan, Nor Aziah Alias, and Izaham Shah Ismail. "Unboxing the Design of English as a Second Language (ESL) Learning Video Game for Indigenous Learners: An Empathic Designbased Approach." Asia Pacific Journal of Educators and Education 35, no. 2 (December 23, 2020): 39–56. http://dx.doi.org/10.21315/apjee2020.35.2.3.
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A learning application that can conjure meaningful learner experiences has always been the ultimate aim for any design and development initiative. Instructional designer longs for not only considerably rich inputs from expert members in design stage but those inputs ought to be sensitive to cognitive and emotional learner experiences, illuminating the core concept of empathic design which is deep reflection on how targeted learners impacted by the design would react when engaging with the proposed design solutions. This exploratory qualitative method study examined how subject matter experts empathised the cognitive and emotional experiences of the indigenous learners when they were designing a learning video game that aimed to heighten learning engagement in ESL classroom. A semi-structured interview with six experts was conducted. Once the proposed technology was ready for formative evaluation, one-to-one evaluation was conducted on three targeted learners to assess their usability experience. Thematic analysis was employed to analyse the interview verbatim transcriptions and one-to-one evaluation qualitative notes. The design findings indicate that the experts transformed the learner cognitive and emotional experiences for the learning video game design in the form of seven design principles and the evaluation findings show that there is a congruence between the effectiveness of those principles and the learner usability experience.
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Gil González, Antonio J., and Luis Navarrete Cardero. "La saga/fuga de J.B como (video)juego." BOLETÍN DE LA BIBLIOTECA DE MENÉNDEZ PELAYO 98, no. 1 (December 10, 2022): 209–44. http://dx.doi.org/10.55422/bbmp.793.
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El interés, incluso teórico, de Torrente Ballester por el juego y sus relaciones con la ficción literaria ha quedado de manifiesto en el título de su conocido trabajo crítico sobre el Quijote (Torrente Ballester, 1984) que parafraseamos aquí aplicado a La saga/fuga de J. B. A la luz de algunos trabajos anteriores, este ensayo plantea la posible alegorización previrtual del juego en esta obra, para muchos, cumbre de la novelística torrentina. En la lectura crítica de este virtual videojuego, José Bastida –J. B., trasunto alófono de G.T.B.– es el narrador interactivo –o internarrador, a su vez remedo del diseñador o game designer, como en The Beginner’s Guide (Everything Unlimited, 2015) de Davey Wreden– que ha creado el mundo de Castroforte y los J. B.; pero este, a medida que va cobrando existencia y autonomía, se comporta como una Inteligencia Artificial que interactúa con su diseño de una manera abierta a múltiples combinaciones impredecibles que escapan a su control: tal es la saga… La fuga, por su parte, se erige ahora enseguida en su símbolo emblemático, cuando Bastida lo descubra, y con ello la posibilidad de quedar atrapado dentro de la historia en forma de variaciones y repeticiones infinitas (perfecta metáfora del medio videolúdico y sus mecánicas, por otra parte), y el objetivo se convierta en abandonar el mundo virtual que ha creado, como si de una escape room o de un videojuego del género de evasión se tratase.
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Purnomo, SF Luthfie Arguby, SF Lukfianka Sanjaya Purnama, Lilik Untari, Agung Prasetyo Wibowo, Nabil Aqib, and Yosse Vira Oktaviana. "Ludic Taunting: Does Taunting Work Differently in Video Games?" Journal of Language and Literature 22, no. 2 (September 26, 2022): 466–80. http://dx.doi.org/10.24071/joll.v22i2.4197.
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Studies on taunting in video game context tend to mull over around how players taunt other players via online chat features. Studies on how taunting works in games with in-game taunt features are under investigated. Examining twenty-seven gamestory-wise and gameplay-wise games, we argue, through this sociolinguistic study, that taunting designed for game characters is better termed ludic taunting since it has different functions from that of taunting in games with online chat feature and in real life. Ludic taunting has two major functions namely narrative and mechanical. The former which refers to taunting for game story-bound purposes is classified into archetyping, cameoing, and mythopoesing. The latter, for game play-bound purposes, is classified into buffing, cosmeticizing, cueing, debuffing, hinting, and rewarding. Game designers and scholars could employ this study as a reference in designing games with in-game taunt features.
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Tsonis, Chris G., Daniel C. Cunha, and Jonathan M. Histon. "Developing Visualization Tools for the Design of Air Traffic Control Experiments." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 49, no. 21 (September 2005): 1878–81. http://dx.doi.org/10.1177/154193120504902113.
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While there has been significant research in the development of visualization tools for users of technology, little attention has been paid to developing visualization tools for human factors researchers designing experiments. From a design of experiments perspective, it is difficult to design video game-like experiments like those in found in air traffic control research, because of the need to control potential confounds such as consistency of scenarios and possible practice effects. When designing scenarios, the state and consistency of initial conditions can critically affect the experiment's outcome and validity. In this paper, we discuss several tools and techniques that were developed to better visualize these initial conditions and easily export them to the interface software. The key features of these tools are that they are relatively simple to develop, straightforward and fast to use, provide a graphical interface for the experiment designer, and ultimately can reduce the total design time for each experiment. Visualization tools based on the same general principles can also be of value in other domains.
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Pusey, Megan, Kok Wai Wong, and Natasha Anne Rappa. "The Puzzle Challenge Analysis Tool. A Tool for Analysing the Cognitive Challenge Level of Puzzles in Video Games." Proceedings of the ACM on Human-Computer Interaction 5, CHI PLAY (October 5, 2021): 1–27. http://dx.doi.org/10.1145/3474703.
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Video games are often designed around puzzles and problem-solving, leading to challenging yet engaging experiences for players. However, it is hard to measure or compare the challenge level of puzzles in video games. This can make designing appropriately challenging puzzles problematic. This study collates previous work to present refined definitions for challenge and difficulty within the context of video games. We present the Puzzle Challenge Analysis tool which can be used to determine the best metrics for analysing the challenge level of puzzles within video games. Previous research has focused on measuring the difficulty of simple action video games, such as Pac-Man, which can be easily modified for research purposes. Existing methods to measure challenge or difficulty include measuring player brain activity, examining game features and player scores. However, some of these approaches cannot be applied to puzzles or puzzle games. For example, approaches relying on game scores will not work for puzzle games with no scoring system, where puzzles are either solved or not. This paper describes the design and development of the Puzzle Challenge Analysis tool using two case studies of commercial video games The Witness and Untitled Goose Game. The tool is also tested for generalisability on a third commercial puzzle video game, Baba Is You. This proposed tool can help game designers and researchers to objectively analyse and compare puzzle challenge and produce more in-depth insights into the player experience. This has implications for designing challenging and engaging games for a range of player abilities.
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Tomkinson, Sian. "Video games through the refrain: Innovation and familiarity." Journal of Gaming & Virtual Worlds 12, no. 3 (October 1, 2020): 287–302. http://dx.doi.org/10.1386/jgvw_00020_1.
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The video game market is dominated by numerous franchises and many players lament that games are becoming boring and repetitive. However it is evident that players desire these games, which sell well. This article suggests that Deleuze and Guattari’s refrain can help explain why players desire repetition in games, and what kinds of risks and potentials it can provide. Specifically, in regard to gameplay I consider elements including genre and mechanics, and player’s desire to re-experience games. To explore repetition in players I consider game communities and the gamer identity, which can open up players to difference or encourage restriction. I argue that understood through the refrain, repetition in video games has the potential to generate difference, innovation and connections, but also possibly a closing off. The refrain is a useful tool for games studies and industry workers who are interested in understanding how new experiences can emerge from repetition.
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Jankowski, Filip. "The Presence of Female Designers in French Video Game Industry, 1985–1993." Games and Culture 15, no. 6 (April 15, 2019): 670–84. http://dx.doi.org/10.1177/1555412019841954.
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Increasingly, more people do notice that female designers wrote their first games in the 1970s and 1980s. However, there was another country where women did also design games decades before the #GamerGate movement. This article examines the selected works of three French designers: Clotilde Marion, Chine Lanzmann, and Muriel Tramis. The analysis of those games took into account the self-representation of those designers—and women in general—within the game content. The conducted research has proven that within their games, Marion, Lanzmann, and Tramis included their everyday experiences as women. Using such techniques as simulated point of view and authorial signature, those women indicated their own role in the development and showed how females in general face male oppression against them. This means that the United States is not the only country with a long tradition of female game developers. Thus, video game history remains an undiscovered research field.
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Maggiorini, Dario, Laura Anna Ripamonti, and Federico Sauro. "Unifying Rigid and Soft Bodies Representation: The Sulfur Physics Engine." International Journal of Computer Games Technology 2014 (2014): 1–12. http://dx.doi.org/10.1155/2014/485019.
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Video games are (also) real-time interactive graphic simulations: hence, providing a convincing physics simulation for each specific game environment is of paramount importance in the process of achieving a satisfying player experience. While the existing game engines appropriately address many aspects of physics simulation, some others are still in need of improvements. In particular, several specific physics properties of bodies not usually involved in the main game mechanics (e.g., properties useful to represent systems composed by soft bodies), are often poorly rendered by general-purpose engines. This issue may limit game designers when imagining innovative and compelling video games and game mechanics. For this reason, we dug into the problem of appropriately representing soft bodies. Subsequently, we have extended the approach developed for soft bodies to rigid ones, proposing and developing a unified approach in a game engine: Sulfur. To test the engine, we have also designed and developed “Escape from Quaoar,” a prototypal video game whose main game mechanic exploits an elastic rope, and a level editor for the game.
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Costello, Robert, and Jodie Donovan. "How Game Designers Can Account for Those With Autism Spectrum Disorder (ASD) When Designing Game Experiences." International Journal of End-User Computing and Development 8, no. 2 (July 2019): 29–55. http://dx.doi.org/10.4018/ijeucd.20190701.oa1.
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Autism Spectrum Disorder (ASD) is a prevalent neurodevelopmental disability among gamers where individuals belonging to this group of conditions have difficulty understanding non-verbal cues. Though game accessibility is a focal point in the games industry, there has been a keen focus placed on developing accessibility. Consequently, this study examines the perspective of video games from individuals who have autism to gain further insight into the needs of these individuals. The preliminary study is to discover if autistic users' difficulty reading non-verbal cues extends to their perception of a game environment and if these individuals can experience sensory distress while playing video games. A prototype was created to further understand the non-verbal cues to help shape the foundation of accessibility framework. The preliminary results concluded that autistic users frequently misread or fail to pick up on the non-verbal cues used by developers to drive game flow and narrative (e.g., sign-posting), in addition to experiencing sensory distress while playing video games.
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Gamboa, E., M. Trujillo, and D. Chaves. "Strong Shot, a Student Centred Designed Videogame for Learning English Vocabulary." Tecnología Educativa Revista CONAIC 3, no. 3 (January 31, 2021): 29–43. http://dx.doi.org/10.32671/terc.v3i3.118.
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Most of current vocabulary games are simplistic and do not meet student’s game preferences. Students are considered digital natives since they have grown up among technology. Thus, they have other preferences that past generations did not have. Consequently, a student centred video game may be a suitable methodology for learning English while meeting those preferences and needs. This paper presents a student centred designed video game as a strategy for learning and rehearsing English vocabulary and shows the process of development based on the active participation of a group of secondary students. Furthermore, a game experience evaluation conducted involving a second group of secondary students is presented. The evaluation confirmed that besides a good story, video game aesthetics also play a crucial role to motivate and engage students. The evaluation also showed that new strategies to present game story should be considered, since intended audience has a very limited English knowledge.
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Maj, Krzysztof M. "O strukturze świata w narracyjnych grach wideo." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (June 15, 2021): 43–55. http://dx.doi.org/10.14746/i.2021.38.03.
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The article On the structure of gameworld in narrative video games proposes to introduce the term ‘ludotopia’ to Polish game studies in order to further compartmentalise the structure of video gameworld. Having reflected on the consequences of so-called world-centered turn in contemporary digital humanities, the author proceeds to defining archetypal structures that compose realities designed for the purposes of narrative video games, namely: locations and clusters of locations, the latter divided further into biomes and anthromes. The hierarchy introduced thereby is presented as an alternative for already influential (though, arguably, in transmedial world-building studies rather than game studies) trichotomy of mythos, topos, and ethos, as defined by Lisbeth Klastrup and Susana Tosca. In the end, the article cross-references the new structural hierarchy of ludotopographical components with a matrix of popular fantastic settings, seeking to delineate possible similarities between ludotopias and allotopias that would inform both game scholars and game designers on the ways of rapid prototyping of aesthetically diverse imaginary worlds.
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Tokadlı, Güliz, Kaitlyn Ouverson, Chase Meusel, Austin Garcia, Stephen B. Gilbert, and Michael C. Dorneich. "An Analysis of Video Games Using the Dimensions of Human-Agent Interaction." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 62, no. 1 (September 2018): 716–20. http://dx.doi.org/10.1177/1541931218621163.
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Designers of human-agent interaction techniques may benefit from an analysis of existing video games that include aspects of human-agent teaming. Many popular multi-player video games have been designed to integrate multiple human and computer agents in pursuit of a common objective and can serve as a testbed to explore novel interaction methods in human-agent teams. A guiding framework of human-agent interaction was created to bridge best practices between video game and real-world domains. The framework was used to analyze games on five main dimensions: 1) Levels of Automation, 2) Levels of Interaction, 3) Control Mode, 4) Teaming, and 5) Interaction Timing. Two video games, Final Fantasy XIV and Mass Effect, were assessed to identify human-agent interaction paradigms, and ramifications for real-world applications for human-agent teaming. This research draws on interaction design principles, human-agent interaction theory, and existing video games to offer human-agent team designers potential examples of successful interaction paradigms.
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McLean, Lavinia, and Mark D. Griffiths. "Gamers’ Attitudes towards Victims of Crime." International Journal of Cyber Behavior, Psychology and Learning 3, no. 2 (April 2013): 13–33. http://dx.doi.org/10.4018/ijcbpl.2013040102.
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Research on video game playing has focused mainly on the effects of such games in relation to aggression and attitudes towards perpetrators and towards crime. The present research was designed to investigate gamers’ attitudes towards victims of crimes and incidents that were designed to mirror those portrayed in violent video games. Vignettes were used during interviews to explore 50 participants’ attitudes towards different types of victims. The results indicate that long-term playing of violent video games appears to be associated with more negative attitudes towards victims of crime. This is the first study to directly explore attitudes towards victims of crime, in relation to violent video game exposure. Compared to nonviolent video game players, the violent video game players in the study reported less positive attitudes towards the victims in the study and attributed more blame to the victims. The implications of this finding in the context of previous research on violent video games, and on attitudes are explored. Directions for future research in the area are also highlighted.
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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 (December 14, 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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Safadi, Firas, Raphael Fonteneau, and Damien Ernst. "Artificial Intelligence in Video Games: Towards a Unified Framework." International Journal of Computer Games Technology 2015 (2015): 1–30. http://dx.doi.org/10.1155/2015/271296.
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With modern video games frequently featuring sophisticated and realistic environments, the need for smart and comprehensive agents that understand the various aspects of complex environments is pressing. Since video game AI is often specifically designed for each game, video game AI tools currently focus on allowing video game developers to quickly and efficiently create specific AI. One issue with this approach is that it does not efficiently exploit the numerous similarities that exist between video games not only of the same genre, but of different genres too, resulting in a difficulty to handle the many aspects of a complex environment independently for each video game. Inspired by the human ability to detect analogies between games and apply similar behavior on a conceptual level, this paper suggests an approach based on the use of a unified conceptual framework to enable the development of conceptual AI which relies on conceptual views and actions to define basic yet reasonable and robust behavior. The approach is illustrated using two video games,RavenandStarCraft: Brood War.
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Benvenuti, Dario, Lauren S. Ferro, Andrea Marrella, and Tiziana Catarci. "An Approach to Assess the Impact of Tutorials in Video Games." Informatics 10, no. 1 (January 11, 2023): 6. http://dx.doi.org/10.3390/informatics10010006.
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Video games are an established medium that provides interactive entertainment beyond pure enjoyment in many contexts. Game designers create dedicated tutorials to teach players the game mechanisms and rules, such as the conventions for interaction, control schemes, core game mechanics, etc. While effective tutorial design is considered a crucial aspect to support this learning process, the existing literature approaches focus on designing ad hoc tutorials for specific game genres rather than investigating the impact of different tutorial styles on game learnability and player engagement. In this paper, we tackle this challenge by presenting a general-purpose approach aimed at supporting game designers in the identification of the most suitable tutorial style for a specific genre of video games. The approach is evaluated in the context of a simple first-person shooter (FPS) mainstream video game built by the authors through a controlled comparative user experiment involving 46 players.
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Aditya, Christian. "The Development Of Visual Aspects In Video Games Over The Years." ULTIMART Jurnal Komunikasi Visual 7, no. 2 (November 12, 2016): 18–22. http://dx.doi.org/10.31937/ultimart.v7i2.385.
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This report investigates the importance of creating a realistic environment in order to create an immersive world in digital games. The discussion will start from the history of Digital game development until now, discussing on the limitations of gaming consoles from time to time, and how game designers nowadays keep pushing the boundaries of the visual aspects of their game. Then focusing the discussion on the technical and art aspect of digital game design. By doing the analysis in this report, we can conclude that there are several reason that affects the visual quality of video games, such as the technology of the game console, the limitation of game engine, and also the skill of the game artist itself.
Key words : Video Games, Digital Games, Game Console, Environment, Game Engine.
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Muratet, Mathieu, Patrice Torguet, Jean-Pierre Jessel, and Fabienne Viallet. "Towards a Serious Game to Help Students Learn Computer Programming." International Journal of Computer Games Technology 2009 (2009): 1–12. http://dx.doi.org/10.1155/2009/470590.
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Video games are part of our culture like TV, movies, and books. We believe that this kind of software can be used to increase students' interest in computer science. Video games with other goals than entertainment, serious games, are present, today, in several fields such as education, government, health, defence, industry, civil security, and science. This paper presents a study around a serious game dedicated to strengthening programming skills. Real-Time Strategy, which is a popular game genre, seems to be the most suitable kind of game to support such a serious game. From programming teaching features to video game characteristics, we define a teaching organisation to experiment if a serious game can be adapted to learn programming.
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Shelare, Mitali, Devyani Deshmukh, and Dr Sanjay Shitole. "A Survival Horror Game RIDE OUT." International Journal for Research in Applied Science and Engineering Technology 10, no. 5 (May 31, 2022): 1746–50. http://dx.doi.org/10.22214/ijraset.2022.42527.
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Abstract: In the Field of Software Engineering, Gaming is the fastest growing field and even more rapidly growing sector of game development the coming years are difficult to predict. Survival horror video games (SHVGs) are among the fastest-growing genres for independent video game developers. With horrific cinematic elements and fear-inducing characteristics, survival horror video games create a terrifying experience for users within a virtual environment. There are various game engines where we are able to create such amazing games such as in Unity3d, Unreal Engine, Game Maker, Godot, and more provide access to the identical technologies and tools available to large game developers. Unity3D Game Engine is an integrated development tool which is used to create interactive contents like video games, architectural visualization and real-time 3D animations. This paper studies about the Horror Survival game ‘RIDE OUT’ which we attempt to build for people to experience the horror and thrill within the virtual environment and hence the way it’s designed with horrific cinematic elements and fear-inducing characteristics. For the survival horror game, the plan goes: everything from building a scene and lighting, ending with battle mechanics and the design of game menus, create graphical effects, control the physical behavior of objects or even implement a custom AI system for characters in the game and much more. Keywords: survival horror video game, game development, AI, fear, game design, gameplay.
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Crawford, Garry, Daniel Muriel, and Steven Conway. "A feel for the game: Exploring gaming ‘experience’ through the case of sports-themed video games." Convergence: The International Journal of Research into New Media Technologies 25, no. 5-6 (May 10, 2018): 937–52. http://dx.doi.org/10.1177/1354856518772027.
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Video gaming is often understood and narrated as an ‘experience’, and we would suggest that this is particularly notable with sports-themed video games. However, we would argue that how the game experience is curated and consumed, and how this relates to wider social process and forces, is rarely given any detailed consideration within the existing game research literature. Hence, this article explores how game experiences can be understood and articulated around four key themes. First, we begin with the argument that video games connect with, but also lead, a wider social trend: understanding social reality as a set of designed experiences. The real is progressively becoming a repository of technologically mediated experiences, and the logic of video games is anticipating this process. Second, we suggest video games are translations of phenomenological worlds: When successful, key aspects of the meaning of things remain similar even as one moves between spaces, domains, mediums and platforms. Developers often seek to bring others’ experiences into a game environment, such as translating the geography and mechanisms of sporting locations and competitions into a game environment. Third, following this translation of meaning across domains, gamers often narrate their encounters with video games as they would with any other experience, such as winning the Champions League in Football Manager becomes recounted by gamers like any other achievement. Fourth, video games are interactive and explicit bodily experiences because they must be enacted in order to exist.
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Millamena, Kian, Alvin Kwan, and Nicolei Panlilio. "University Students’ Video Gaming - Reasons, Preferences, and Behavioural Effects." European Conference on Games Based Learning 16, no. 1 (September 29, 2022): 732–41. http://dx.doi.org/10.34190/ecgbl.16.1.856.
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Research on players’ reasons for video gaming, their video game preferences, and the behavioural effects of video gaming on the players tends to study those issues separately. This study attempts to explore all those issues collectively with the aim of facilitating game designers to develop appealing educational games for university students without inflicting negative behavioural impacts on the students. Relevant data from 100 undergraduates were collected from an online survey. Cluster analysis of the eight major reasons for playing video games resulted in grouping the respondents into five clusters. The cluster that rated peer effect as the major reason for playing is male-dominated whereas the cluster that rated family influence as the major reason is female-dominated. A similar analysis of the respondents’ video game genre preferences reveals that the cluster favouring fighting and battle games is male-dominated, whereas the cluster favouring family entertainment games is female-dominated. Both genders enjoy playing challenging adventure-strategy games. Most respondents perceived that their cognitive functioning had improved through video gaming, but no conclusion can be drawn as to whether video gaming can improve their social and psychological functioning. Except for poor sleeping habits, most respondents had not experienced any significant negative effects from playing video games. No statistical evidence supports that playing violent video games would induce aggressive behaviours. As games that involve a high demand for players’ motor skills may not be a good choice for educational games and violent games may induce poor sleep quality, it is concluded that challenging adventure games and strategy games are suitable educational game genres for undergraduate students.
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Putra, Ricky Widyananda, and Jeanie Annissa. "Analysis of Player's Reception in the Video Game “Among Us”." PROPAGANDA 2, no. 1 (January 24, 2022): 32–38. http://dx.doi.org/10.37010/prop.v2i1.455.
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Game is an entertainment facility that contains games using electronic devices which involve players who make decisions through control of game objects for certain purposes, known as users. The game growth industry has developed especially in a variety of types of games which include Maze Game, Board Game, Card Game, Battle Card Game, Quiz Game, Puzzle Game, Shooting Game, First Person Shooting (FPS), Side Scrolling Game, Fighting Game , Racing Game, Simulation, Strategy Game, Role Playing Game (RPG), Adventures Game, Sport Game, and Edutainment Game. In Indonesia itself, there are a variety of online games that have sprung up, among the many types of online games that are currently being talked about is the "Among Us" game. In the process of designing and developing the concept of a game, it is very important to get to know the user who is expected to be able to play the designed game. So that it can be seen the user's process in interpreting a game, this can be explored with various approaches, one of which is using reception analysis theory. Reception Study (study of acceptance) is one that develops in cultural studies, which focuses on messages or communication discourses and has implications for audiences. In this study, the game "Among Us" contained a narrative or storyline that was presented as well as a visualization of the character design of this game. The goal to be achieved in this research is to find out the meaning of players towards the Among Us game by using a Reception Study (acceptance study) which will focus on interpretive meanings and experiences of users or game users in interacting with game media.
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Harabagiu, Neculai. "The Importance of Using the “Data Volley” Software and of the “Data Video” System in the Tactical Training of the Middle Blocker for Official Games." GYMNASIUM XXI, no. 1 (June 29, 2020): 34. http://dx.doi.org/10.29081/gsjesh.2020.21.1.03.
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Nowadays, the level of professional volleyball has increased significantly, having such dynamic and speed of execution of the game actions, that it is very difficult to watch the game in its depth without using some special programmes of statistical analysis. In this context, for a fair and precise assessment of the game actions, there are used both statistical, as well as video evaluation software programmes, so as not to miss any important detail during the games. One of the most used programmes in professional volleyball is “Data Volley”, which includes a video system of analysis and evaluation called “Data Video”. These were designed so as to simplify the work of the coaches, in analysing their own game, as well as that of the other team. The purpose of this study is to analyse the game of the other team before official games, on offence and defence, using the “Data Video” system.
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Le Pelletier de Woillemont, Pierre, Rémi Labory, and Vincent Corruble. "Automated Play-Testing through RL Based Human-Like Play-Styles Generation." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 18, no. 1 (October 11, 2022): 146–54. http://dx.doi.org/10.1609/aiide.v18i1.21958.
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The increasing complexity of gameplay mechanisms in modern video games is leading to the emergence of a wider range of ways to play games. The variety of possible play-styles needs to be anticipated and taken into account by designers, through automated tests. Reinforcement Learning (RL) is a promising answer to the need of automating video game testing. To that effect one needs to train an agent to play the game, while ensuring this agent will generate the same play-styles as the players in order to give meaningful feedback to the designers. We present CARMI : a Configurable Agent with Relative Metrics as Input. An agent able to emulate the players play-styles, even on previously unseen levels. Unlike current methods it does not rely on having full trajectories, but only summary data. Moreover it only requires little human data, thus compatible with the constraints of modern video game production. This novel agent could be used to investigate behaviors and balancing during the production of a video game with a realistic amount of training time.
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Zarembo, Imants. "ANALYSIS OF ARTIFICIAL INTELLIGENCE APPLICATIONS FOR AUTOMATED TESTING OF VIDEO GAMES." ENVIRONMENT. TECHNOLOGIES. RESOURCES. Proceedings of the International Scientific and Practical Conference 2 (June 20, 2019): 170. http://dx.doi.org/10.17770/etr2019vol2.4158.
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Game testing is a software testing process for quality control in video games. Game environments, sometimes called levels or maps, are complex and interactive systems. These environments can include level geometry, interactive entities, player and non-player controllable characters etc. Depending on the number and complexity of levels, testing them by hand may take a considerable effort. This is especially true for video games with procedurally generated levels that are automatically created using a specifically designed algorithm. A single change in a procedural generation algorithm can alter all of the video game levels, and they will have to be retested to ensure they are still completable or meet any other requirements of the game. This task may be suitable for automation, in particular using Artificial Intelligence (AI). The goal of this paper is to explore the most promising and up-to-date research on AI applications for video game testing to serve as a reference for anyone starting in the field.
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Thabet, Tamer. "A mente e a máquina: desempenho, design de jogos e humanidades." Boitatá 8, no. 15 (June 29, 2013): 22. http://dx.doi.org/10.5433/boitata.2013v8.e31544.
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This article argues in favor of teaching video game design as a humanistic discipline. In The Art of Videogames (2009), Grant Tavinor defines video games as a form of fiction and art. Based on some of the ideas that Tavinor highlights, Chris Crawford’s standpoint on game designers’ preparation in Chris Crawford on Game Design (2003), and Huizinga’s description of the functions of play in Homo Ludens (1964), I will reason for the approach of housing the undergraduate game studies and design in the faculty of humanities as one discipline. The rationale of why the art and technology of games should meet in humanities emerges from the present state of games’ content in the mainstream games; that is, what they show and what they tell. This is of course a case for intellectual, enlightened, inspired, and thought-provoking game stories, and how this could be achieved in the humanities.
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Ruberg, Bonnie. "Empathy and Its Alternatives: Deconstructing the Rhetoric of “Empathy” in Video Games." Communication, Culture and Critique 13, no. 1 (March 2020): 54–71. http://dx.doi.org/10.1093/ccc/tcz044.
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Abstract This article analyzes the contemporary discourse that surrounds video games. Specifically, it confronts the rhetoric of “empathy,” which has become a buzzword in North American industry, academic, education, and media conversations about video games and their supposed power to place players into others’ shoes—especially those games created by queer or otherwise marginalized people. Scholars like Wendy Chun and Teddy Pozo and game designers like Robert Yang have spoken out against this rhetoric. Building from their writing, as well as critiques from the creators of queer independent games commonly mislabeled as “empathy games,” this article delineates the discriminatory implications of the term. Rather than simply dismissing “empathy,” however, this article unpacks it, turning to textual artifacts like news stories and industry presentations, as well as the 2016 video game Unravel (ColdWood Interactive), to deconstruct the term’s many meanings and to identity alternative (queerer) models of affective engagement with video games.