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Books on the topic 'Video game developers'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Boris, Meltreger, ed. Beginning pre-calculus for game developers. Boston: Thomson Course Technology, 2007.

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2

Boris, Meltreger, ed. Beginning math concepts for game developers. Boston: Thomson Course Technology, 2007.

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3

Torkington, Nathan, and Tatiana Apandi Diaz, eds. AI for Game Developers: Creating Intelligent Behavior in Games. Sebastopol, USA: O'Reilly Media, Inc., 2004.

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4

Jozefowicz, Chris. Video game developer. Pleasantville, NY: Gareth Stevens Pub., 2010.

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5

Thompson, Lisa. Game on: Have you got what it takes to be a video game developer? Minneapolis, Minn: Compass Point Books, 2010.

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6

Duffield, Katy. Ken Kutaragi: Playstation developer. Detroit: KidHaven Press, 2008.

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7

Bryce, Hallett, ed. Animation unleashed: 100 principles every animator, comic book writer, filmmaker, video artist and game developer should know. Studio City, CA: M. Wiese Productions, 2008.

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8

Dubanov, Aleksandr. Simulation of pursuit and parallel approach methods in pursuit problems. ru: Publishing Center RIOR, 2021. http://dx.doi.org/10.29039/02071-5.

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This monograph publishes a description of methods and algorithms for pursuit problems on surfaces. Simulation of tasks in the Mathcad programming environment was made. The development of digital technologies makes it possible to simulate a variety of problems from the theory of differential games. As a result of computer modeling, a lot of animation videos were obtained, which allow you to see the algorithmic solutions proposed by the author in pursuit problems. The monograph can be useful for students of technical universities, graduate students and developers of robotic systems with elements of artificial intelligence.

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9

Guynes, Sean, and Dan Hassler-Forest, eds. Star Wars and the History of Transmedia Storytelling. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462986213.

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Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies’ projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world’s most profitable transmedia franchise.

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10

Physics for Game Developers. O'Reilly Media, Inc., 2001.

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11

AI for Game Developers. O'Reilly Media, Inc., 2004.

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12

Pixel Art for Game Developers. Taylor & Francis Group, 2015.

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13

Limpach, Odile. The Publishing Challenge for Independent Video Game Developers. CRC Press, 2020. http://dx.doi.org/10.1201/9780367815639.

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14

Ph, D. John P. Flynt, and Boris Meltreger. Beginning Pre-Calculus for Game Developers. Course Technology PTR, 2006.

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15

Ph.D., John P Flynt and Boris Meltreger. Beginning Math Concepts for Game Developers. Course Technology PTR, 2006.

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16

Weiss, Brett, 1967- author of foreword, ed. The minds behind the games: Interviews with cult and classic video game developers. McFarland & Company, Inc., Publishers, 2018.

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17

Hickey, Patrick. Minds Behind Shooter Games: Interviews with Cult and Classic Video Game Developers. McFarland & Company, Incorporated Publishers, 2020.

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18

Jr, Hickey Patrick. Minds Behind Sports Games: Interviews with Cult and Classic Video Game Developers. McFarland & Company, Incorporated Publishers, 2020.

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19

Limpach, Odile. Publishing Challenge for Independent Video Game Developers: A Practical Guide. Taylor & Francis Group, 2020.

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20

Limpach, Odile. Publishing Challenge for Independent Video Game Developers: A Practical Guide. Taylor & Francis Group, 2020.

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21

Bulut, Ergin. A Precarious Game. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501746529.001.0001.

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This book is an ethnographic examination of video game production. The developers that were researched for almost three years in a medium-sized studio in the United States loved making video games that millions play. Only some, however, can enjoy this dream job, which can be precarious and alienating for many others. That is, the passion of a predominantly white-male labor force relies on material inequalities involving the sacrificial labor of their families, unacknowledged work of precarious testers, and thousands of racialized and gendered workers in the Global South. The book explores the politics of doing what one loves. In the context of work, passion and love imply freedom, participation, and choice, but in fact they accelerate self-exploitation and can impose emotional toxicity on other workers by forcing them to work endless hours. The book argues that such ludic discourses in the game industry disguise the racialized and gendered inequalities on which a profitable transnational industry thrives. Within capitalism, work is not just an economic matter, and the political nature of employment and love can still be undemocratic even when based on mutual consent. As the book demonstrates, rather than considering work simply as a matter of economics based on trade-offs in the workplace, we should consider the question of work and love as one of democracy rooted in politics.

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22

Limpach, Odile. Publishing Challenge for Independent Videogame Developers: A Practical Guide. Taylor & Francis Group, 2020.

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23

Limpach, Odile. Publishing Challenge for Independent Videogame Developers: A Practical Guide. Taylor & Francis Group, 2020.

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24

Limpach, Odile. Publishing Challenge for Independent Videogame Developers: A Practical Guide. Taylor & Francis Group, 2020.

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25

Publishing Challenge for Independent Videogame Developers: A Practical Guide. Taylor & Francis Group, 2020.

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26

Cote, Amanda C. Gaming Sexism. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479838523.001.0001.

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In 2012, video gaming culture saw an interesting, paradoxical divergence. On one hand, game journalists and trade organizations testified that gaming had significantly diversified from its masculine roots, with women comprising nearly half of all gamers. On the other hand, gaming spaces witnessed increasing, public incidents of sexism and misogyny. Gaming Sexism analyzes the video game industry and its players to explain the roots of these contradictory narratives, how they coexist, and what their divergence means in terms of power and gender equality. Media studies scholar Amanda C. Cote first turns to video game magazines to assess how longstanding expectations for “gamers” are shifting, how this provokes anxiety in traditional audiences, and how these players resist change, at times employing harassment and sexism to drive out new audience members. She follows this analysis by interviewing female players, to see how their experiences have been affected by games’ changing environment. Interviewees reveal many persistent barriers to full participation in gaming, including overtly and implicitly sexist elements within texts, gaming audiences, and the industry. At the same time, participants have developed nuanced strategies for managing their exclusion, pursuing positive gaming experiences, and competing with men on their own turf. Thus, Gaming Sexism reveals extensive, persistent problems in achieving gender equality in gaming. However, it also demonstrates the power of a motivated, marginalized audience, and draws on their experiences to explore how structural inequalities in gaming spaces—and culture more broadly—can themselves be gamed and overcome.

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27

Video game storytelling: What every developer needs to know about narrative techniques. Watson-Guptill, 2014.

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28

Ken Kutaragi: Playstation Developer (Innovators). KidHaven Press, 2007.

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29

Hut, Bright Light Publishng. Don't Panic! I'm a Professional Video Game Developer : Customized 100 Page Lined Notebook Journal Gift for a Busy Video Game Developer: Far Better Than a Throw Away Greeting Card. Independently Published, 2020.

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30

Pinch, Trevor, Wiebe E. Bijker, W. Bernard Carlson, and Casey O'Donnell. Developer's Dilemma: The Secret World of Videogame Creators. MIT Press, 2014.

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31

Pinch, Trevor. Developer's Dilemma: The Secret World of Videogame Creators. MIT Press, 2014.

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32

McAlpine, Kenneth B. Fakebit, Fans, and 8-Bit Covers. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.003.0010.

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Musicians have for centuries reinterpreted and recontextualized the music of other songwriters, composers and performers, and this chapter explores how this musical reinvention has manifested itself as part of the contemporary chipscene. The chapter explores how in the early days of 8-bit gaming, game soundtracks often borrowed heavily from the popular electronic music of the time, often featuring arrangements of Jarre, Vangelis, and Yellow Magic Orchestra. The chapter also explores how, today, there are bands who take those classic video game themes and perform them as live five- or six-piece rock bands. It discusses how social media has provided a platform for the performance and distribution of video game covers and examines how, as musicians have demanded simple, self-contained production environments to develop chip music, new hardware and software synthesizers have been developed to meet that need, an approach that is known as fakebit and that highlights the value that different participants in the scene place on authenticity.

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33

Oates, Thomas P. Man Management. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040948.003.0006.

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This chapter examines how commercial entertainments relating to the NFL advance a vision of idealized citizenship in the twenty-first century U.S. which is budget-conscious and market-oriented. The chapter extends the concerns with productivity, which were developed in the previous two chapters, focusing this interest on the construction of a financialized citizen, who is analytical and concerned with organizational strategies. Through football-related entertainments, these idealized figures are imagined as valorized men. The chapter focuses on promotions for the popular digital entertainments of fantasy football and the video game series Madden NFL. Both games position NFL fans to act as effective managers of teams and players. In doing so, they impart more generally applicable lessons about fiscal management and social relations in the late capitalist period, while offering forms of masculine validation for those who succeed.

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34

McAlpine, Kenneth B. The Commodore 64. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.003.0004.

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Commodore’s C64 was a musical powerhouse. Its on-board sound chip, the Sound Interface Device, gave it the functionality of a professional three-channel digital synthesizer. This chapter explores the development of the machine and how its feature set was determined by a corporate battle over cheap calculator chips. The power of the Sound Interface Device, however, made it very complex and difficult to use. Even seasoned developers needed time to explore all of its intricacies, and it took time to unlock its full potential. In the days before graphical editors, writing music on the Commodore required a high degree of musicality and a deep understanding of the low-level hardware architecture. As a result, it was on the Commodore 64 that the role of video composer became more specialized and more professionalized and the craft of writing music drivers, code to perform digital music, really became established.

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35

Sydnor, Synthia. On the Nature of Sport. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038938.003.0010.

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This chapter argues that digital culture is a recent addition to myriad forms of expression and expressiveness that have occurred since time immemorial. Digital media then, “are tools that enable humans to continue doing what has always been at the core of the human condition: living in community, communicating, consuming, gathering, playing.” The chapter also develops a treatise on the nature of sport that takes into account both the digital era and theories of play, ritual, and culture. Cyber activities around sport, including “fantasy league play; social and individual memories of sports performance; video/computer games; the seemingly infinite growth of sport performances/stunts showcased on YouTube, tweets, and the colossal transglobal economy associated with sport,” replicate the “fun, thrills, danger, gravity play” and other affective sensations surrounding participation in sport itself. Ultimately, the digital revolution confirms the formal, symbolic ritualistic nature of sport more than it transforms.

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